FINE JAPANESE ART
Thursday 10 November 2016

SPECIALIST AND AUCTION ENQUIRIESLONDON

Suzannah Yip

Yoko Chino

NEW YORK

Jeff OlsonSENIOR CONSULTANTS

Neil DaveyJoe Earle

Masami Yamada

FINE JAPANESE ART
Thursday 10 November 2016 at 1pm
101 New Bond Street, London

VIEWING

Saturday 5 November
11am to 5pm
Sunday 6 November
11am to 5pm
Monday 7 November
9am to 7.30pm
Tuesday 8 November
9am to 4.30pm
Wednesday 9 November
9am to 4.30pm
SALE NUMBER:

23270

CATALOGUE:£25.00BIDS+44 (0) 20 7447 7447
+44 (0) 20 7447 7401 fax
To bid via the internet please
visit bonhams.com
Please note that bids should besubmitted no later than 4pm on
the day prior to the sale. New
bidders must also provide proofof identity when submitting bids.
Failure to do this may result inyour bid not being processed.
Telephone bidding will only be
accepted on lots with a lower
estimate in excess of £1,000.

ENQUIRIESSpecialist, Head of Department
Suzannah Yip+44 (0) 20 7468 8368
suzannah.yip@bonhams.com
Cataloguer
Yoko Chino+44 (0) 20 7468 8372
yoko.chino@bonhams.com
Department Assistant
Masami Yamada+44 (0) 20 7468 8217
masami.yamada@bonhams.com
Senior Consultants
Neil Davey+44 (0) 20 7468 8288
neil.davey@bonhams.com
Joe Earle+44 (0) 20 7468 8217
joe.earle@bonhams.com
Department Fax+44 (0) 20 7495 5840

CUSTOMER SERVICES

Please see page 2 for bidder
information including after-salecollection and shipment

Please see page 4 for bidder
information including after-salecollection and shipment

For the sole purpose of providing
estimates in three currencies in
the catalogue the conversion
has been made at the exchange
rate of approx.
£1: ¥128.1115£1: USD1.2400
Please note that this rate may wellhave changed at the date of
the auction.

Monday to Friday 8.30 to 6.00
+44 (0) 20 7447 7447

Physical Condition of Lots inthis Auction
PLEASE NOTE THAT THERE
IS NO REFERENCE IN THISCATALOGUE TO THE PHYSICALCONDITION OF ANY LOT.
INTENDING BIDDERS MUST
SATISFY THEMSELVES AS TO
THE CONDITION OF ANY LOTAS SPECIFIED IN CLAUSE 15
OF THE NOTICE TO BIDDERSCONTAINED AT THE END OF
THIS CATALOGUE.
As a courtesy to intending bidders,
Bonhams will provide a written
Indication of the physical conditionof lots in this sale if a request is
received up to 24 hours before theauction starts.
This written Indication is issued
subject to Clause 1.6 of the
Notice to Bidders.
ILLUSTRATIONS

Front cover: Lot 353 (detail)Back cover: Lot 508 (detail)Live online bidding isavailable for this sale
Please email bids@bonhams.com
with ‘live bidding’ in the subject
line 48 hours before the auction
to register for this service

お品物のコンディションについて
本カタログにはお品物の損傷等
コンディションの記述は記載されていないことを、予めご了承ください。入札をご希望のお客様は、カタログ巻末の「Notice to Bidders（入札される方へのご注意）」第15条をご参照くださりますよう、お願い申し上げます。
ご希望のお客様には、オークショ
ン開始の24時間前まで、
コンディション•レポートの依頼を受け付けております。こちら
は、「Notice to Bidders（入札されるお客様へのご注意）」
1.6条に基づき作成されます。
IMPORTANT INFORMATIONThe United States Governmenthas banned the import of ivory
into the USA. Lots containing
ivory are indicated by thesymbol Ф printed beside the
lot number in this catalogue.
Please note from March 2016
China has imposed a ban on
the import of ivory.

Bonhams 1793 Limited

Registered No. 4326560
Registered Office: Montpelier Galleries
Montpelier Street, London SW7 1HH+44 (0) 20 7393 3900
+44 (0) 20 7393 3905 fax

Bonhams International Board

Robert Brooks Co-Chairman,
Malcolm Barber Co-Chairman,
Colin Sheaf Deputy Chairman,
Matthew Girling CEO,
Patrick Meade Group Vice Chairman,
Jon Baddeley, Rupert Banner, Geoffrey Davies,
Jonathan Fairhurst, Asaph Hyman, James Knight,
Caroline Oliphant, Edward Wilkinson, Leslie Wright.

Bonhams UK Ltd Directors

Colin Sheaf Chairman,
Harvey Cammell Deputy Chairman,
Antony Bennett, Matthew Bradbury,
Lucinda Bredin, Simon Cottle, Andrew Currie,
Paul Davidson, Jean Ghika,Charles Graham-Campbell, Miranda Leslie,
Matthew Haley, Richard Harvey, Robin Hereford,
David Johnson, Charles Lanning,

Gordon McFarlan, Andrew McKenzie,
Simon Mitchell, Jeff Muse, Mike Neill,
Charlie O’Brien, Giles Peppiatt, Peter Rees,
John Sandon, Tim Schofield, Veronique Scorer,
James Stratton, Ralph Taylor, Charlie Thomas,
Shahin Virani, David Williams,
Michael Wynell-Mayow, Suzannah Yip.

AcPark Royal

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SALE
INFORMATION

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Cadogan Tate

BIDS
+44 (0) 20 7447 7447
+44 (0) 20 7447 7401 fax
To bid via the internet please visit
www.bonhams.com
PAYMENTS
Buyers+44 (0) 20 7447 7447
+44 (0) 20 7447 7401 fax
Sellers
Payment of sale proceeds+44 (0) 20 7447 7447
+44 (0) 20 7447 7401 fax
VALUATIONS, TAXATION& HERITAGE+44 (0) 20 7468 8340
+44 (0) 20 7468 5860 fax
valuations@bonhams.com
CATALOGUE SUBSCRIPTIONS
To obtain any Bonhams catalogue
or to take out an annual
subscription:
Subscriptions Department+44 (0) 1666 502200+44 (0) 1666 505107 fax
subscriptions@bonhams.com
SHIPPING
For information and estimateson domestic and international
shipping as well as export
licenses please contact Alban
Shipping on +44 (0) 1582 493 099
enquiries@albanshipping.co.uk
ELECTRICAL EQUIPMENT
All electrical equipment in thissale has either been tested bya suitably qualified electrician or
has been operationally disabled.
If the intention is to reconnect thisequipment we recommend that
this is carried out by a suitably
qualified electrician.

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BUYERS COLLECTION &STORAGE AND HANDLINGSTORAGE AFTER SALE
CHARGES ON SOLD LOTS
West Acton
StationLOTS MARKED TP
RETURNED TO CADOGAN TATE
All sold lots marked TP will be
removed to Cadogan Tate, 241
Storage
Acton Lane, London, NW10 7NP
Storage will be free of charge for thefrom 9.00am Friday 11 November
first 14 calendar days from &2016.
including the sale date Thursday
10 November 2016.
COLLECTION
Sold TP lots will be available
Charges will apply from 9am
for collection from Cadogan
Wednesday 23 November 2016.
Tate from 12.00 noon Monday
Pictures and small objects:
14 November 2016 and then
£2.85 per day + VAT
every working day between 9am
Furniture, large pictures and large
and 4.30pm on production of
objects: £5.70 per day+ VAT
photographic identification and(Note: Charges apply every day
written authorisation for third-party
including weekends and Public
collections.
Holidays)
To arrange a collection time please
send a booking email tocollections@cadogantate.com
or telephone call to +44 (0)800 988
6100 will be required to ensure lots
are ready at time of collection.
All other sold lots will remain in theCollections room at Bonhams New
Bond Street for a period of not lessthan 14 calendar days from the saledate 10 November 2016, Lots notcollected by 5.30pm Wednesday
23 November 2016 will be returnedback to the Department wherestorage charges may apply.

Handling
After the first 14 calendar days
following the sale, the following
handling charges apply per Lot:
Pictures and small objects:£21.00+ VAT
Furniture, large pictures £42.00+ VAT
Loss and Damage
Extended Liability cover to the valueof the Hammer Price will be charged
at 0.6% but capped at the total valueof all other charges.
VAT
Will be applied at the current rateon all above charges

Acton
Cemetery

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Acton
Station

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Park
Royal
StationThe following symbol is used
to denote that VAT is due on
the hammer price and buyer’s
premium
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Coronat† VAT 20% on hammer priceand buyer’s premium*

VAT on imported items at apreferential rate of 5% on hammer
price and the prevailing rate on
buyer’s premium
Y These lots are subject to CITES
regulations, please read theinformation in the back of
the catalogue.
IMPORTANT NOTICE
A surcharge of 2% is applicablewhen using MasterCard, vVisa andoverseas debit cards.
Payment
All charges due to Cadogan
Tate may be paid to them in advanceor at the time of collection from theirwarehouse. Payment may be madeby cash, cheque with banker’s card,credit, or debit card (Please note:
Amex is not accepted).
Information on charges
due is available by email atcollections@cadogantate.com ortelephone on +44 (0)800 988 6100
Payment in Advance(Telephone to ascertain amount due)by: cash, cheque with banker’s card,credit or debit card.
Payment at time of collection by:
cash, cheque with banker’s card,credit or debit card.

CHRONOLOGY
Jomon period			

ca.10,000BC - ca.300BC

Yayoi period				ca.300BC - ca.300AD
Kofun period				ca.593 - 710
Nara period				710 - 794
Heian period			

794 - 1185

Kamakura period			1185 - 1333

Muromachi period			

1333 - 1573

Nanbokucho period			

1336 - 1392

Momoyama period			

1573 - 1615

Bunroku era				Keicho era				

1592 - 1596
1596 - 1615

Edo period

1615 - 1868			

Kan’ei era				1624 - 1644
Kanbun era				
1661 - 1673
Genroku era				1688 - 1704
An’ei era				1772 - 1781
Tenmei era				1781 - 1789
Kansei era				1789 - 1801
Kyowa era				1801 - 1804
Bunka era				1804 - 1818
Bunsei era				1818 - 1830
Tenpo era				1830 - 1844
Koka era				1844 - 1848
Kaei era					1848 - 1854
Ansei era				1854 - 1860
Man’en era				1860 - 1861
Bunkyu era				1861 - 1864
Genji era					1864 - 1865
Keio era					1865 - 1868

Meiji era
Taisho era				Showa era
Heisei era

1868 - 1912
1912 - 1926
1926 - 1989			

1989 - present

CONTENTS
Lots 136 – 522 (from 1.00 pm)
Inro, lacquer works of art and Satsuma earthenware
from the Shozo Sugihara Collection

136-200

Netsuke from a European Private Collection

201-250

Netsuke and ojime (various owners)

251-303

Reference books

304

Inro and sagemono (various owners)

305-328

Armour, helmets, masks and abumi

329-339

Swords340-346

Sword-fittings and a matchlock gun

347-350

Painted hanging scrolls

351-359

Woodblock prints

360-361

Painted screen

362

Embroidered works of art

363-364

Lacquer works of art (various owners)

365-372

Wood works of art including Buddhist art

373-382

Ivory okimono figures and other ivory works of art
from a European Private Collection

383-409

Ivory okimono figures (various owners)

410-434

Other ivory works of art (various owners)

435-449

Ceramics

450-455

Satsuma earthenware (various owners)

456-468

Cloisonné enamel works of art

469-479

Inlaid iron works of art

480-491

Silver and inlaid silver works of art

493-496

Bronze and inlaid bronze vessels

497-512

Other bronze works of art

513-522

THE SHOZO SUGIHARA COLLECTION

86 years of age, Shozo Sugihara passed away two years

released onto the market in the past or lost in the nuclear
ago. He was born in Hiroshima in 1928, in Japanese terms
attack on Hiroshima that led Sugihara to become aat the start of the Showa era, and in global terms around the collector.
time of the panic that followed the Wall Street Crash of 1929.
He started with familiar objects that sparked his interest
25 years of age, in 1953, he became the second headin history and then broadened his scope to satisfy aof Sugihara Co. Ltd., an enterprise based in Hiroshima—passion for the romance of pre-modern art and antiques,Japan’s Ground Zero—that specialized in fabric production supported by profound knowledge and exchange ofand assembly, and spearheaded its growth during theinformation with a vast network of acquaintances, as may
years of Japan’s postwar recovery.
be guessed from the books in his library and his many andvaried contact books.
Driven by an all-consuming passion for monozukuri(making things), he devoted himself wholeheartedly to theHis interest in collecting was spurred by a wish to makecompany’s expansion and development.
the most of his limited time in this world by living in thecompany of beautiful things, appreciating them andWhile he was absorbed in this task, his interest inderiving joy from them. For him, collecting was moremanufacturing led him to discover the pleasures ofthan a mere hobby: he believed that works of art gave
understanding the background to historical personalities
him a feel for history and an understanding of the value
and events and deepening his appreciation of pastsystems of past times and artists which informed his own
cultures.
management philosophy and view of life.
He decided to secure pieces representative of thecompany’s history, including items made from canvas,
such as tents and curtains for schools and lecture
theatres, and clothing products such as sports and work
attire. It was this wish to recover pieces that had been

8 | BONHAMSIn Sugihara’s view, since the life of a single human being
offers only the briefest time for the appreciation of works ofart, we should make the most we can of this short momentof existence. Only art, in his view, can fulfil our dream ofsharing the thoughts of bygone people and times.

350 or more examples of maki-e (inro, netsuke and inro

boxes) were in his collection, intended as accessories
to dress and made in determined pursuit of the stylish
and chic. Despite their number, such is their variety inboth subject matter and style that one could never tire oflooking at them, rich in imaginative power and striking aperfect balance between excellence of design, exquisite
craftsmanship and functional beauty. Because netsuke
and inro were used for personal adornment they wereadmired as much for their beauty as for their practicality.
Sparing no effort, master lacquerers lavished unimaginableamounts of time in polishing and finishing theirpainstakingly designed productions, which reached a peakof style and artistry during the Edo period (1615-1868).
For Sugihara the most important thing was to select works
that one could never grow tired of looking at. He sought
out pieces that had been not only been well cared for over
the ages so that they survived in good condition but also
embodied a universal aesthetic appeal.

400 years or more have passed since traditional white

Satsuma ware was first made, fascinating both for its
antiquity and for its splendour, delicacy and refinement. The
appeal of old Satsuma ware lies in its soft, warm whiteness,derived not from the glaze but from the colour and textureof the clay used and resulting in an ivory-hued body withtiny inclusions. This type of clay was later taken up by the
makers of Kyōyaki, ceramic wares manufactured in Kyoto
and distinguished by fine painted decoration in gorgeous
colours. Sugihara was fascinated by these as well.

60 years as a ‘public person’, not just the CEO of a major
company but also a leading figure in the life of the region,
presented Sugihara with many challenges to overcome
but he managed to live a remarkably happy, rounded life,
raising three children and surrounded by his collection of
antique artwork.

100 years will soon have passed since the founding of

the company he nurtured, a company that is now a part of
the history he so loved.

FINE JAPANESE ART| 9杉原昭三氏コレクションについて86歳。彼は生涯を終えた。１９２８年広島にて生誕。和暦

限りある人生を、今ひと時、美しいものと一緒にいて、楽しみ
たい、喜びたい、そしてこれらの美術品と共に自分の人生をの昭和の始まりとともに始まり、それは恐慌の始まりでもあ大切にしたいという思いが、彼のコレクションへの想いでありました。
ったのではないかと思われます。彼にとって、「蒐集」（コレクション）は、単に趣味ではなく、美術品を通じて「歴史」を歳（１９５３年）、2代目経営者として、グランド・ゼロの感じ、時代や作家の「価値観」を知り、自らの人生観、経営
広島で、１９２３年創業の繊維、縫製を主体とした会社を観に影響を与えてきたものでした。人の人生、それも美術品継ぎ、戦後日本の復興と同じくして会社を成長させてきましを愛することのできる時間は本当に短い。その一瞬を、限りた。彼は、ものづくりをこよなく愛し、事業の展開、発展を遂なく大切にしたい。歴史上の人と時間を、そして想いを共有
げてきました。そんな仕事に没頭する中、ものづくりを通じ
したい、そんな夢を与えてくれるのが、彼にとっては、ほかなて、時代背景や人物、出来事との関係を知り、歴史・文化をらぬ美術品だったのです。
深めることに楽しみを見出してきました。そんな想いは、講堂や学校の緞帳・テントなど帆布製品、運動・作業着など
今回の「蒔絵」（印籠・根付・印籠箱）シリーズは、衣類の衣料製品といった自社で制作した製品を自社の歴史として製造に携わった者として装飾（アクセサリー）や粋を追求す
手元にほしいと思うようになり、一度市場に出た品物を買いる想いを形にした作品ばかりです。
戻すこと、そして原爆によって失われたものを取り戻したいという気持ちが、蒐集のキッカケへとなりました。こうした身近な品の蒐集は、「歴史への興味」として現れ、浪漫として、「古美術や骨董の興味」へと拡がり、その知識（研究）とネットワーク（仲間との情報交換）は、計り知れない。そのことは、彼の書斎の書物とアドレス帳の量と種類から推察さ
れます。

25

10 | BONHAMS

350種を超えるともいわれる、テーマを持つ「蒔絵」（印 400年以上もの歴史と、豪華かつ繊細優美な美しさに魅

籠・根付・印籠箱）の魅力は、その多種多様なテーマやキャ 了される「陶磁器」（薩摩焼：磁器の白薩摩）シリーズは、
ラクター（特徴・性質）があることで、見飽きることがありま その釉薬ではなく土の地肌の色で、柔らかな温かみのあるせん。その想像力に富んだ作風は、「良いデザイン」と「細密 白、象牙色の素地に細かな貫入が見られるのが特徴であ
彫刻技術」、「機能美」の三つがバランスよく形作られてい り、また後に京焼の繊細な絵付けが取り入れられ、華やかます。印籠・根付は装身具ですから、機能的であって、美し な彩りある文様が特徴であり、彼もそれらに魅了されたので
いものが好まれたはずです。蒔絵師は惜しみなく、我々のしょう。
想像以上に作品の磨きや仕上げに時間を費やしています。
年間、「公人」として、企業のトップリーダーとして、またデザインを考えつくして手間暇をかけた作品は、江戸時代「私において洒落、粋を極めたものだったと思います。彼は、コ 地域のリーダーとして、数々の苦難を乗り越えながらも、レクションの基準として「飽きのこないもの」を選ぶことが 人」として、３人の子を育て、好きな「古美術品」のコレクショ
最も重要であり、時代を経ても大切にされて生き残ってきた ンに囲まれ、とても幸せな人生をまっとうしたのではないでもの、そして作品の中に普遍的な美が備わっているものを求 しょうか。
めていました。
年、彼が育てた会社が、もうじき迎えようとしている。
会社もまた彼の愛した歴史として。

60

100

FINE JAPANESE ART

| 11

136

12 | BONHAMS

137

138

For Lots 1 - 135
PLEASE REFER TO THE SEPARATE CATALOGUE,
THE ETHEREAL BRUSH: IMPORTANT JAPANESEPAINTINGS FROM A LONDON COLLECTION

THE SHOZO SUGIHARA COLLECTION
OF JAPANESE ART(Lots 136-200)
INRO
136 *
A GOLD-LACQUER THREE-CASE INRO
By Shiomi Masanari, Edo period (1615-1868), 18th century
The almost square kinji body decorated in red, gold and black
togidashi maki-e with a fine sprinkling of gold powder depicting acontinuous scene of an oxherd on one side sleeping leaning against
sheaves of rice beside a recumbent docile ox, the interior of richnashiji, signed in a red-lacquer rectangular reserve Shiomi Masanari;with a globular gold-lacquer ojime and a wood netsuke of a recumbent
stag, unsigned.
7.1cm (2¾in) high.
£4,000 - 6,000
JPY510,000 - 770,000
US$5,000 - 7,400

137 *A GOLD-LACQUER FOUR-CASE INRO
By Hara Yoyusai (1772-1845/6), Edo period (1615-1868),
mid 19th century
The vertical rounded rectangular body decorated in gold, silver andcoloured hiramaki-e with eight overlapping differently shaped panels
enclosing auspicious and New Year motifs including cranes standing
besides pine saplings, a sparrow flying among stems of bamboo,
sprigs of chrysanthemums and Hotei’s fan and treasure sack, allreserved on a ground of okibirame, the interior of nashiji, the basesigned in gold lacquer Yoyusai saku; with a gold-lacquer two-partmanju netsuke decorated with a rabbit inlaid in shell among autumnal
grasses, unsigned.
9cm (3½in) high.
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000
138 *A GOLD-LACQUER FOUR-CASE INRO
By Hara Yoyusai (1172-1845/6), Edo period (1615-1868),
mid 19th century
The standard lenticular cross section decorated in gold and coloured
takamaki-e with overlapping roundels enclosing the 12 animals of
the zodiac, six on each side, all reserved on a okibirame ground, theinterior risers of rich nashiji, the base signed in gold lacquer Yoyusaisaku with a kao; with a glass ojime.
8.9cm (3½in) high.
£4,000 - 5,000
JPY510,000 - 640,000
US$5,000 - 6,200
FINE JAPANESE ART

| 13

139

140

139 *
A GOLD-LACQUER FIVE-CASE INRO
Edo period (1615-1868), early-mid 19th century
The rounded rectangular body decorated in gold takamaki-e,hiramaki-e, togidashi maki-e and kirikane with a continuous scene
possibly representing a Shinto purification ritual showing on one side
figures gathered on the banks of a winding stream behind a manmaku(brocade curtain), a torii gate in the foreground, the reverse depicting
a nusa (wooden wand used in Shinto rituals) in the middle of a dug-up
square area filled with water located before the walls of a castle, theinterior of nashiji, unsigned; with a carved walnut netsuke.
8.6cm (3 3/8in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

14 | BONHAMS

141

140 *
A GOLD-LACQUER FIVE-CASE INRO
By Shoryusai Kogyoku, Edo period (1615-1868),
early-mid 19th century
The rounded rectangular body decorated in gold, black and slightcoloured takamaki-e, hiramaki-e, with a tennin (angel) besides a pinetree wearing her hagoromo (feathery robe) alluding to the subject of a
No play of the same title, branches of pine extending to the reverse,
the interior of rich nashiji, the base signed Shoryusai Kogyoku; with akagamibuta netsuke, the gold-lacquer bowl with a metal plate carved
with an eagle swooping over a waterfall, worked in chiselled high reliefof gilt, silver and bronze, unsigned.
9cm (3½in) high.
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700

142
141 *
A GOLD-LACQUER FOUR-CASE INRO
Edo period (1615-1868), early-mid 19th century
The vertical lenticular kinji body decorated in gold and slight silver
and black takamaki-e with an all-over design of a ‘hundred’ cranes
in flight, the interior of rich nashiji, unsigned; with bronze tubularojime decorated in chiselled relief of silver with a single sprig ofmagnolia, unsigned.
8.2cm (3¼in) high.
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700

142 *A GOLD-LACQUER FIVE-CASE INRO
Edo period (1615-1868) or early Meiji era (1868-1912),
mid/late 19th century
The standard rectangular lenticular cross section decorated in gold
takamaki-e, gold and silver hiramaki-e, e-nashiji and kirikane withan all-over design showing on one side a gissha (ox-drawn court
carriage) stationed against a background of autumnal plants andflowers growing in profusion including kiku (chrysanthemum), hagi(bushclover), kikyo (Chinese bellflower), ominaeshi (valerian) andsusuki (pampas grass) extending over to the reverse beside ameandering stream where the verandas of two palaces are
situated on opposite sides, applied with three solid characters aki
no ne 秋乃音 (sound of autumn), the interior of nashiji, unsigned;with a wood manju netsuke carved with a cluster of 11 kyogen
masks, unsigned and a glass ojime.
10.2cm (4in) high.
£3,500 - 4,500
JPY450,000 - 580,000
US$4,300 - 5,600

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143

144

143 *
A GOLD-LACQUER FOUR-CASE INRO
Edo period (1615-1868) or Meiji era (1868-1912),
mid/late 19th century
The standard lenticular cross section decorated
in predominantly gold lacquer and slight blackand red takamaki-e with a continuous scene offour swallows, two on either side, in flight beneathtrailing branches of vine laden with flowering
wisteria, the interior of rich nashiji, unsigned; witha wood netsuke in the form of a duck, unsigned.
8.7cm (3 3/8in) high.
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

145
16 | BONHAMS

146

144 *
A GOLD-LACQUER FIVE-CASE INRO
Edo period (1615-1868),
early-mid 19th century
The vertical rounded body decorated in gold
hiramaki-e with six horizontal bands of formal
designs including lozenge shapes enclosing
four-petalled floral motifs, shippo-tsunagi(linked cash), repeat hanabishi (flowers withinlozenge shapes), formal wave patterns andfragmented rinzu (textile-weave), the top
and bottom with similar brocade motifs, theinterior of rich nashiji, unsigned; the goldlacquer two-part manju netsuke embellised
in gold and black hiramaki-e and shell inlay
with a crane flying over a boat moored besidereeds, unsigned; with a green glass oijme.
10.1cm (4in) high.
£2,000 - 2,500
JPY260,000 - 320,000
US$2,500 - 3,100

145 *A RED-LACQUER FOUR-CASE INRO
Edo period (1615-1868),
early-mid 19th century
The broad rectangular rounded red-lacquer
ground decorated in gold lacquer andslight-coloured takamaki-e with butterflies
hovering around a group of frolicking shishi,
the interior of rich nashiji, unsigned;with a green glass ojime.
9cm (3½in) high.
£3,500 - 4,500
JPY450,000 - 580,000
US$4,300 - 5,600

146 *A GOLD-LACQUER FOUR-CASE INRO
By Joka(sai), Edo period (1615-1868)
or Meiji era (1868-1912), 19th century
The kinji ground decorated with a continuous
design of a peacock and peahen, the former
displaying its elaborate tail while its mateperches coquettishly on a rock amidst
flowering peonies, in gold and slight coloured
takamaki-e with details of inlaid shell andhighlights of kirikane, the interior of nashiji,signed Joka with kao; with a wood ojime of
double gourd form; and a wood netsuke of awolf with a captured turtle, signed Masakazu.
9.5cm (3¾in) high.
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

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147

147 *
A SMALL GOLD-LACQUER FOUR-CASE INRO
By Nakayama Komin (1808-1870), mid-late 19th century
Of upright form, bearing a rich kinji ground, lacquered with acontinuous scene of a crane flying over a pine-clad rock while aminogame (long-tailed tortoise) climbs onto a smaller rock amid
swirling water, in gold takamaki-e with highlights of e-nashiji,
the interior of nashiji, signed Hokkyo Komin with a kao; with anamber ojime; and a stag antler manju netsuke in the form of achrysanthemum, carved on the top with a paulownia crest.
7.6cm (3in) high.
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000

18 | BONHAMS

148
148 *
A GOLD-LACQUER FIVE-CASE INRO
By Kiyusai, Edo period (1615-1868) or Meiji era (1868-1912),
mid-late 19th century
Of upright form, lacquered all over with a continuous panoramic sceneof the 53 Stations on the Tokaido in gold takamaki-e with highlights ofkirikane, the stations identified on gold-foil cartouches and the interiorof nashiji, signed Kiyusai with red pot seal; with an amber ojime anda stag antler netsuke of rectangular form, the top carved in relief withchrysanthemum and paulownia crests and the sides engraved with
the names of the stations, unsigned.
9.2cm (3 5/8in) high.
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000

149

149 *
A GOLD-LACQUER SEVEN-CASE INRO
Edo period (1615-1868) or early Meiji era (1868-1912),
mid/late 19th century
The vertical rectangular rounded rich kinji body decorated in goldand slight-coloured takamaki-e, hiramaki-e and kirikane with a beauty
standing, adjusting a bamboo blind, the reverse similarly lacquered
with a hand towel draped over a branch besides a washbasin in agarden framed by ‘The Three Friends of Winter’ (shochikubai: pine,bamboo and plum), the interior of Gyobu nashiji, unsigned; with a twopart gold-lacquer manju netsuke embellished with a single bloomingpeony, unsigned; and a green glass ojime.
8.9cm (3½in) high.
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000

150 *A LARGE BROAD GOLD-LACQUER FOUR-CASE INRO
Edo period (1615-1868) or early Meiji era (1868-1912),
mid/late 19th century
The rounded rectangular lustrous kinji ground decorated in gold
takamaki-e, hiramaki-e and kirikane with an imposing walled Chinese
building at the water’s edge, the design extending over the reverse
where a formation of geese are shown in flight above rolling hills in the
distance and in the foreground two moored boats and fishing nets
drying beside a thatched dwelling, the interior of rich nashiji, unsigned;with a motled semi-precious stone flattened ojime.
11.4cm x 9.7cm (4½in x 3¾in).
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700
Illustrated on page 20.

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150

150

151*
A GOLD-LACQUER SAYA (SHEATH)
FIVE-CASE INRO
By Komin, Edo period (1615-1868)
or Meiji era (1868-1912), mid-late 19th century
The saya bearing a subdued nashiji ground andlacquered with scattered ferns in gold hiramaki-e,
the inner five-case inro lacquered in gold togidashi
maki-e with woodsmen carrying water and saltburners’ huts beside a turbulent lake with pine teesin the distance, the interior of black lacquer, signed
Komin; with a gold lacquer ojime; and a wood
netsuke of Hotei carrying a sack containing asmall boy, unsigned.
8.5cm (3 3/8in) high.
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700

20 | BONHAMS

151

153

152

152 *
A GOLD-LACQUER FOUR-CASE INRO
Edo period (1615-1868), early-mid 19th century
The vertical rectangular body decorated in gold, slight-coloured andsilver takamaki-e and gold hiramaki-e with a continous scene of agroup of courtiers looking up at a monumental waterfall, its verticallines dominating the composition on the reverse, the interior ofrich nashiji, unsigned; with wood okimono netsuke in the form of aherdboy leading a monk seated astride a horse, signed Issai.
9.8cm (3 13/16in) high.

153 *A GOLD-LACQUER SIX-CASE INRO
Edo period (1615-1868) or early Meiji era (1868-1912),
early-mid 19th century
The rounded rectangular body decorated in gold takamaki-e,hiramaki-e and kirikane with an all-over design of fruiting gourd trailingover a bamboo fence, the risers with a scalloped edge on opposite
sides and embellished in gold hiramaki-e with a repeated square
pattern, the compartments of nashiji, unsigned; with red glass ojime.
9cm (3½in) high.

£2,000 - 2,500
JPY260,000 - 320,000
US$2,500 - 3,100£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

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154

22 | BONHAMS

155

156

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157
154 *
A GOLD-LACQUER FOUR-CASE INRO
Edo period (1615-1868) or Meiji era (1868-1912), 19th century
The waisted kinji ground with a scrolled sunken panel on each side
lacquered on a ground of formalised waves with elaborate ju charactersin gold takamaki-e, unsigned; with a bone ojime of double gourd form
and a copper manju netsuke engraved and inlaid in shakudo with two
small birds flying over pine trees, signed Obun saku.
7.3cm (3 7/8in) high.
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
Illustrated on page 22.
155 *A GOLD-LACQUER FOUR-CASE INRO
Edo period (1615-1868), early-mid 19th century
The rounded rectangular body decorated in gold, silver and slightcoloured takamaki-e, kirikane and hiramaki-e, with a long-tailed exotic
bird perched on a flowering plum tree beside a winding stream on one
side and a solitary uguisu (bush warbler) in flight on the reverse, theinterior of nashiji, unsigned; with a cylindrical striated glass ojime.
8.2cm (3¼in) high.
£1,500 - 1,800
JPY190,000 - 230,000
US$1,900 - 2,200
Illustrated on page 22.

24 | BONHAMS156 *A GOLD-LACQUER THREE-CASE INRO
IN THE FORM OF A TIED JAR
The gold-lacquer two-part manju netsuke by Seizan,
Meiji era (1868-1912), late 19th/early 20th century
The kinji ground embellished in gold takamaki-e, hiramaki-e, e-nashiji,
togidashi maki-e and kirikane details with a continuous autumnal sceneof a deer grazing at a stream beneath a canopy of overhanging vineand grapes on one side and leafy branches of fruiting gourd above awaterfall on the other, the top case applied in relief with a simulated
hanabusa knot, the interior of rich Gyobu nashiji, unsigned; the two-partgold-lacquer manju netsuke lacquered with a shrubof kikyo (Chinese bellflower) and susuki (pampas grass),
signed Seizan saku.
10.5cm (4 1/8in) high.
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700
Illustrated on page 23.

158

157 *
A BROAD GOLD-LACQUER AND SOMADA INLAID
THREE-CASE INRO IN THE FORM OF AN ELABORATE,TASSELLED BIRD CAGE
The inro and en-suite lacquer hako-netsuke probably by Shunsho IX(Masaaki), Shunsho X (Masakane) or Shunsho XI (Masaoki),
Meiji era (1868-1912), late 19th/early 20th century
The wide rounded-rectangular body embellished in gold and coloured
takamaki-e, hiramaki-e, e-nashiji and kirikane with details inlaid inshell with a cockerel and two hens behind the vertical bars on one
side and three pheasants on the other, both above a writhing dragon
within a irregularly shaped panel, the interior of nashiji, the bottom ofrich gyobu nashiji and signed in a gold-lacquer rectangular reserve
Shunsho with seal Shun; with en-suite lacquer hako netsuke in theform of toy cat lacquered with cherry blossoms, maple leaves andchrysanthemums floating on a shippo-tsunagi (linked cash) ground,signed on the gyobu nashiji underside in a gold-lacquer rectangularreserve Shunsho saku; with a similarly lacquered and shell-inlaidojime, unsigned.
8.6cm x 9.5cm (3 3/8in x 3¾in).

158 *A LARGE GOLD-LACQUER CLOCK INRO
By Shozan, Meiji era (1868-1912), late 19th/early 20th century
The kinji ground lacquered in gold takamaki-e to one side with adragon amid swirling clouds, centering on a glazed window revealinga brass clock with silvered numerals, the reverse lacquered in gold
takamaki-e with a Dutchman standing with a small dog on a leash
in a garden, the interior of gold lacquer, the underside of the covercontaining a compartment with sliding cover for the clock key,signed Shozan saku; with a metal ojime and a gilt metal netsukein the form of a flintlock gun, the barrel and stock engravedwith scrolling foliage, unsigned.
9.5cm (3¾in) high.
£4,500 - 5,500
JPY580,000 - 700,000
US$5,600 - 6,800£5,000 - 6,000
JPY640,000 - 770,000
US$6,200 - 7,400
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159

160

161
26 | BONHAMS

162
159 *
A SMALL GOLD-LACQUER FOUR-CASE INRO
By a member of the Kajikawa family, late Edo period (1615-1868)or early Meiji era (1868-1912), mid/late 19th century
The rounded rectangular body decorated in gold takamaki-e with an
all-over design of flowering paulownia, with discrete details on theveins of the leaves lacquered in kirikane, the base signed Kajikawa
saku with a pot-shaped seal; with a stag antler netsuke of an old man
seated and holding a nyoi (Buddhist sceptre), unsigned.
7cm (2¾in) high.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200160 *A GOLD-LACQUER FIVE-CASE INRO
By a member of the Kajikawa family, Meiji era (1868-1912),
late 19th/early 20th century
The vertical, rounded rectangular kinji body decorated in gold
takamaki-e, hiramaki-e, kirikane and e-nashiji with a continuous
scene of a building nestled high among pine-clad craggy rocks onan overhanging promontory on one side, the rocky seascape designcontinuing on the reverse, the interior of rich Gyobu nashiji, signed
Kajikawa saku with a pot-shaped seal; with a blue-and-white porcelain
netsuke in the form of a lotus stalk trailing forward over the pod
forming the himotoshi, several loose seeds inserted within; with asilvered-gilt reticulated ojime engraved with flowers, unsigned.
8.9cm (3½in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

161 *A GOLD-LACQUER FIVE-CASE INRO
By a member of the Kajikawa family, late Edo period (1615-1868)or early Meiji era (1868-1912), mid 19th century
The rounded rectangular body decorated in gold takamaki-e andtogidashi maki-e with an all-over design of a thatched hut positioned
at the foot of pine-clad tall craggy rocks on the shores of ameandering river, the interior of nashiji, the base signed in gold
lacquer Kajikawa saku with a re-lacquer pot-shaped seal; with ametal ojime in the form of a basket containing fruit, unsigned.
8.7cm (3 3/8in) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
162 *A GOLD-LACQUER FOUR-CASE INRO
By a member of the Kajikawa family, late Edo period (1615-1868)or early Meiji era (1868-1912), mid 19th century
The vertical rounded rectangular body decorated in gold and coloured
takamaki-e with a continuous design depicting a gathering of the
Rokkasen (Six Immortal Poets), Ono no Komachi, Henjo Sojo andFumiya no Yasuhide on one side and Ariwara no Narihira, Otomo no
Kuronushi and Kisen Hoshi on the other, the base signed Kajikawa
saku with a red-lacquer pot-shaped seal; with a glass bead ojime.
8.5cm (3 3/8in) high.
£2,000 - 2,500
JPY260,000 - 320,000
US$2,500 - 3,100

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163 *A SHELL-INLAID GOLD-LACQUER
FOUR-CASE INRO
Edo period (1615-1868),
early-mid 19th century
The rounded rectangular body inset with asilver-edged panel on each side decorated
in gold takamaki-e, togidashi maki-e,hiramaki-e and kirikane with a fruiting
yabukogi (coralberry) shrub growing on the
rocky shore beside a meandering stream,
the berries inlaid in malachite and coral,reserved on a simulated ground inlaidin shell, the interior of nashiji; unsigned.
8.3cm (3¼in) high.
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000

163

164 *
A GOLD-LACQUER FIVE-CASE INRO
By a member of the Kajikawa family,
Edo period (1615-1868) or Meiji era(1868-1912), 19th century
The rounded rectangular kinji ground,lacquered with a mountainous landscape,showing a fast-flowing river passing
through a gorge with maple trees on thebanks and mountain peaks in the distance,in gold and slight-coloured takamaki-e withprofuse highlights of kirikane and e-nashiji,
the interior of Gyobu nashiji, signed
Kajikawa saku with a red-lacquer potshaped seal; with an amber ojime.
9.8cm (3 7/8in) high.
£2,000 - 2,500
JPY260,000 - 320,000
US$2,500 - 3,100

164
28 | BONHAMS

165

165 *
A GOLD-LACQUER FIVE-CASE INRO
By a member of the Kajikawa family, Meiji era (1868-1912),
late 19th/early 20th century
The vertical rounded rectangular body decorated in gold takamaki-ewith the character ju (longevity) floating among sparse clusters ofchrysantheumum blossoms, the base signed Kajikawa saku with a
red-lacquer pot-shaped seal; with a gold-lacquer two-part manju
netsuke lacquered with two cherry blossoms, unsigned.
8.7cm (3 3/8in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

166

166 *
A GOLD-LACQUER FIVE-CASE INRO
By a member of the Kajikawa family, late Edo period (1615-1868)or early Meiji era (1868-1912), mid/late 19th century
The rounded rectangular ground decorated in gold takamaki-e,hiramaki-e and kirikane with a continuous autumnal rural landscapescene, the lower foreground depicting a row of sheaves of rice hanging
out to dry in front of thatched dwellings on one side and a straw
kakashi (scarecrow) standing in a rice field besides a meandering
stream on the river with undulating hills in the background on the other,
the interior of nashiji, signed Kajikawa saku with a red-lacquer potshaped seal; with a walnut netsuke and glass ojime.
9cm (3½in) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
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167

168

30 | BONHAMS

169

167 *
A METAL-INLAID GOLD-LACQUER
FOUR-CASE INRO
By members of the Kajikawa and Yokoya
families, Edo period (1615-1868)
or Meiji era (1868-1912), mid 19th century
The rounded rectangular fundame groundrichly lacquered in gold takamaki-e with aturbulent river beneath pine trees wreathedin swirling clouds, inlaid in shakudo relief
with Choryo and Kosekiko, the former half
kneeling on a rock beside a swimming
dragon proffering a shoe to Kosekiko whorides over a bridge above, profuse highlights
of kirikane, the interior of Gyobu nashiji,signed Kajikawa saku with a red-lacquer
pot-shaped seal and Somin saku;
with an agate ojime.
8.9cm (3½in) high.

168 *A METAL-INLAD GOLD-LACQUER
FOUR-CASE INRO
Edo period (1615-1868) or Meiji era(1868-1912), mid 19th century
The rounded rectangular okibirame bodyinset on each side with a silver-rimmed panelof gold lacquer, one inlaid with the Shoku no
Sanketsu (Three Heroes of the Chinese Stateof Shu), Kan’u on horseback accompaniedby Chohi and led by Gentoku, all in shakudo
with details of gold, silver and copper,
the reverse lacquered in gold and silver
takamaki-e and inlaid with Komei seated,
reading in a lakeside pavilion overhung withthe snow-covered branches of a pine tree,
the interior of rich Gyobu nashiji,
unsigned; with a coral ojime.
8.5cm (3 3/8in) high.

£3,500 - 4,500
JPY450,000 - 580,000
US$4,300 - 5,600£4,000 - 5,000
JPY510,000 - 640,000
US$5,000 - 6,200

169 *A METAL-INLAID GOLD-LACQUERTWO-CASE INRO
Edo period (1615-1868) or Meiji era(1868-1912), mid 19th century
The circular fundame ground lacquered withswirling clouds in gold and silver takamaki-e,
inlaid on one side with the Raijin the Thunder
God in silver relief with details of gold, copperand shakudo, the reverse lacquered with
Futen the Wind God running over the cloud,
releasing air from his large bag of wind, theinterior of nashiji, unsigned; with a glass ojime
and a wood netsuke of Raijin standing on a
cloud and beating his drum, unsigned.
6cm (2 3/8in) high.
£5,000 - 6,000
JPY640,000 - 770,000
US$6,200 - 7,400

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170

171

170 *
A MIXED-METAL-INLAID SAYA (SHEATH)
GOLD-LACQUER FOUR-CASE INRO
Meiji era (1868-1912), late 19th/early 20th century
The vertical rectangular rounded kinji saya (sheath) decorated in gold
takamaki-e, hiramaki-e and kirikane, worked on one side in chiselled
relief of gold, bronze and shakudo with two sumo wrestlers facing
each other inside a dohyo (sumo ring) before a bout, the reverse witha manmaku curtain draped across the branches of a tree adorned
with gohei (ritual papers), the inro embellished in gold takamaki-ewith a continuous ground of ken-katabami mon (heraldic crests ofswordblades combined with flowers of wood sorrel), the interior of richnashiji, unsigned; with a glass ojime.
7.3cm (2 7/8in) high. (2).
£4,000 - 5,000
JPY510,000 - 640,000
US$5,000 - 6,200
32 | BONHAMS171 *A METAL-INLAID BLACK-LACQUER THREE-CASE INRO
Edo period (1615-1868) or early Meiji era (1868-1912),
mid/late 19th century
The hexagonal straight sided black-lacquer body decorated with athree-clawed coiled dragon worked in gold chiselled relief shown with
its tail clutching the hilt of a Shinto sword on one side and a prancing
shishi worked in silver chiselled relief biting the stalk of a peony on theother, the interior of rich nashiji, unsigned; with a gold ojime carved withgeometric motifs with details of transluscent enamel, unsigned.
7cm (2¾in) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

172 *A METAL-INLAID GOLD-LACQUER FOUR-CASE INRO
By Kajikawa Bunryusai, Meiji era (1868-1912),
late 19th/early 20th century
The rounded rectangular lustrous kinji body decorated in gold
hiramaki-e, kirikane, takamaki-e and e-nashiji with a woodsman
offering a stick of dango (sweet dumplings) to a beauty passing
beside a large flowering cherry tree during the hanami (cherryblossom-viewing) season, the design continuing over the reverse,
the figures worked in chiselled high relief of gold, silver, shakudo andbronze, the interior of rich nashiji, the base signed in gold lacquer
Kajikawa Bunryusai saku; with a two-part gold-lacquer manju netsuke
embellished in gold lacquer relief with a recumbent deer amongautumnal plants and grasses, the reverse signed in a shell-inlaid
reserve Shibayama; with a green glass ojime.
10.8cm (4¼in) high.
£5,000 - 8,000
JPY640,000 - 1,000,000
US$6,200 - 9,900

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173

173 *
A METAL-INLAID GOLD-LACQUER FIVE-CASE INRO
By Kakosai Shozan, Edo period (1615-1868), mid 19th century
The vertical rounded rectangular rich nashiji body decorated ingold takamaki-e, kirikane, silver and gold hiramaki-e with a sage
accompanied by his young attendant, each worked in chiselled reliefof gold, shibuichi, bronze and shakudo beneath flowering branches ofplum on one side admiring a waterfall cascading down through rocks
and feeding the river below shown on the reverse, the interior of Gyobu
nashiji, the base signed Kakosai; with a wood netsuke of an itinerant
entertainer, unsigned.
9.5cm (3¾in) high.
£4,000 - 5,000
JPY510,000 - 640,000
US$5,000 - 6,200

174

174 *
A METAL-INLAID GOLD-LACQUER FIVE-CASE INRO
By Kakosai Shozan, Edo period (1615-1868), mid 19th century
The standard lenticular cross-section body with straight sides, rounded
corners, curved top and base, the kinji ground sprinkled with very fine
kinpun (gold powder), decorated in gold and coloured takamaki-e with
Jurojin and a karako, each worked in chiselled high relief of gold, silver,
shibuichi and shakudo, seated beneath the branches of a pine tree
watching affectionately watching a deer and stag inlaid in shell, grazingin the foreground, the reverse similarly lacquered and inlaid with aflock of cranes in flight over calm waters, signed on the base Kakosaiand in a shell-inlaid rectangular reserve Shibayama saku; with a woodokimono netsuke in the form of a stag on one side and a scholar andattendant in a pine grove on the other, signed on the undersidewith an archaic seal.
9.8cm (3 13/16in) high.
£3,500 - 4,500
JPY450,000 - 580,000
US$4,300 - 5,600

34 | BONHAMS

175 *A GOLD-LACQUER SHIBAYAMA-INLAID THREE-CASE INRO
Meiji era (1868-1912), late 19th/early 20th century
The vertical octagonal-sided kinji body decorated in gold takamaki-e,e-nashiji, coloured gold hiramaki-e and typical Shibayama inlay with an
old woman carrying her grandson on her back in front of a large statueof Emma-o, a large lantern inscribed Man’ninko chu (‘Buddhist preachfor everyone’ in progress) suspended above in the right corner, thereverse similarly inlaid with a mother teaching her child how to spin amawari-toro (rotating cylindrical shadow lantern) showing a silhouetteof boar hunters on horseback, the sides, top and base of okibirame,
the interior of rich nashiji, unsigned; with a gold-lacquer two-part manju
netsuke embellished with flower arrangment in a vase and stalks of cut
irises on a tray in the foreground, signed in a red-lacquer rectangularreserve Shibayama and a cloisonné-enamel ojime, unsigned.
10cm x 7.5cm (4in x 3in).
£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000
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178

176 *
A GOLD-LACQUER SHIBAYAMA-INLAID FOUR-CASE INRO
By a member of the Shibayama family, Meiji era (1868-1912),
late 19th century/early 20th century
The rectangular lenticular body bearing a kinji ground, lacquered andinlaid with a sanbaso dancer performing on an outdoor stage holding
an open fan and a suzu (small bell) in coloured lacquer and bone,shell, horn and soapstone, the reverse similarly inlaid with an elaboratevase of peonies and chrysanthemums beneath trailing wisteria andgold-lacquered cloud bands, the interior of nashiji, signed on a shelltablet Shibayama; with a glass ojime simulating green jade; and awood netsuke in the form of two No masks, unsigned.
9.2cm (3 5/8in) high.
£4,500 - 5,000
JPY580,000 - 640,000
US$5,600 - 6,200
177 *A GOLD-LACQUER SHIBAYAMA-INLAID FOUR-CASE INROThe Shibayama inlay by Masayuki, Meiji era (1868-1912),
late 19th/early 20th century
The rounded rectangular lustrous kinji ground decorated in typical
Shibayama inlay with a pair of plump rabbits beside fertile headsof sugina (mare’s tail), a clump of clover on the ground on one side
and a shrub of tanpopo (dandelions) and warabi (edible ferns) on thereverse, with discrete details embellished with gold flakes, the bottomcase signed in an oval shell reserve Masayuki; with wood netsuke inthe form of a mushroom, unsigned; and a glass bead ojime.
9cm (3½in) high.

178 *A GOLD-LACQUER SHIBAYAMA-INLAID THREE-CASE INRO
By Meiseki, Meiji era (1868-1912), late 19th/early 20th century
The rectangular facetted body with a kinji ground decorated in gold
hiramaki-e, takamaki-e, kirikane with a continuous scene in typical
Shibayama style depicting a menagerie of fantasy creatures at thebottom of the sea including a kappa, assorted fish, crusteans andaquatic creatures clad in human attire and frolicking above turbulent
water, the Dragon Princess of the Sea, Otohime, flying above and the
Ryugu castle in the background, the reverse with a hunter poised in
the crevice of a cliff shooting arrows at large birds whilst other figuresattempt to ride the creatures, the interior of nashiji, signed on a shelltablet in the form of an archaic pot Meiseki; with an iron ojime in theform of an octopus applied in bronze chiselled relief with its tentacles
encirling a vase decorated with ceramic shells, unsigned.
10.5cm (4 1/8in) high.
£8,000 - 10,000
JPY1,000,000 - 1,300,000
US$9,900 - 12,000£3,500 - 4,500
JPY450,000 - 580,000
US$4,300 - 5,600
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179 *A GOLD-LACQUER SHIBAYAMA-INLAID THREE-CASE INRO
Meiji era (1868-1912), late 19th/early 20th century
The rectangular rounded kinji cross section with lobed corners, lavishly
decorated in typical Shibayama style in gold takamaki-e, hiramaki-e,
gold togidashi maki-e with a pheasant strutting beside a meandering
stream behind which flowering chrysanthemum shrubs are growing
at the foot of a white plum tree on one side and a pair of geese
beneath trailing branches of wisteria on the other, hills in the distance,
unsigned; with a silver filigree ojime inset with three circular panels
enclosing formalised floral motifs with discreet details inlaid inenamel, unsigned.
9.6cm (3¾in) high.
£4,000 - 5,000
JPY510,000 - 640,000
US$5,000 - 6,200

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180 *A GOLD-LACQUER SHIBAYAMA-INLAID FIVE-CASE INRO
Meiji era (1868-1912), late 19th/early 20th century
The vertical rounded rectangular rich nashiji body applied with asilver simulated bamboo-edged rectangular panel on either side, one
enclosing five monkeys inlaid in shell playfully dangling from branchesof flowering cherry overhanging a winding stream decorated in gold
hiramaki-e, e-nashiji and togidashi maki-e, the reverse predominately
inlaid in typical Shibayama style with a pheasant foraging for foodbesides a peony shrub, the interior of nashiji, unsigned; with a gilt
iron pierced manju netsuke carved with confronting mythologicalbeasts, unsigned; and a tubular lacquer ojime decorated withthe yin-yang symbol, unsigned.
8cm (3 1/8in) high.
£5,000 - 6,000
JPY640,000 - 770,000
US$6,200 - 7,400

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181 *A BROAD GOLD-LACQUER SHIBAYAMA-INLAID THREE-CASE
INRO IN THE FORM OF AN IRREGULAR SECTION OF BAMBOO
Meiji era (1868-1912), late 19th/early 20th century
The broad rounded rectangular kinji body inset with two silver-edged
irregular panels, one on either side, decorated in gold takamaki-e,hiramaki-e, gold togidashi maki-e and typical Shibayama inlay withthe advance party of a foxes’ wedding procession dressed in humanattire making its way past a meandering stream, two foxes dressed
as samurai, three wearing swords and one carrying a travelling box,
framed at the top of each panel by flowering sprigs of cherry blossoms
inlaid in shell, the top and base with okibirame, the interior of nashiji,
unsigned; with a large lacquered ojime decorated with stylised
wisteria and flowerheads on a chequer-pattern ground, unsigned.
11cm x 8.2cm (4 3/8in x 3¼in).
£6,000 - 8,000
JPY770,000 - 1,000,000
US$7,400 - 9,900

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182

182 *
A GOLD-LACQUER SHIBAYAMA-INLAID THREE-CASE INRO
Meiji era (1868-1912), late 19th/early 20th century
The flattened straight-sided octagonal shaped body lavishly decorated
in typical Shibayama style in gold togidashi maki-e, hiramaki-e andkirikane with a fantastical, humourous scene of Shoki the DemonQueller leaning over a karabitsu (Chinese-style storage box) besidestems of bamboo with a frustrated expression as three oni (demons)mischieviously taunt their nemesis, the reverse with a fourth oni
outwitting two Chinese generals by balancing on their spear, theinterior of rich nashiji, unsigned; with a gilt-metal ojime carved with aphoenix; and a wood netsuke of a seated man hauling a a sack over
his shoulder from within which peer out two oni, unsigned.
11.3cm x 8.1cm (4½in x 3¼in).
£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000

183 *A GOLD-LACQUER SHIBAYAMA-INLAID THREE-CASE INRO
The inro by Nemoto, the ojime by Kazuyoshi, Meiji era (1868-1912),
late 19th/early 20th century
The vertical broad rounded body decorated in gold takamaki-e,kirikane and hiramaki-e and inlaid in shell, inset with two rectangularkinji panels illustrating Shitakiri-suzume (Tongue-Cut Sparrow), oneside showing the greedy old woman kneeling in a garden beside alarge rattan basket being served tea by the sparrow hostess whilst
three younger sparrows are depicted on the reverse entertaining theirguest by dancing, signed in two overlapping silver lacquer reserves
Nemoto zo, the top, sides and bottom lacquered with Gyobu flakes,
the interior of rich nashiji; with a cylindrical silver oijime carved in low
relief with seasonal flowers, signed Kazuyoshi.
10.1cm (4in) high.
£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000
Illustrated on page 42.
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185

184 *
A CERAMIC THREE-CASE INRO WITH EN-SUITECERAMIC OJIME AND NETSUKE
By a follower of Ogata Kenzan, Edo period (1615-1868),
mid 19th century
The crackled cream-glazed flattened rounded rectangular body
painted both sides with landscape images of two stations from
Hiroshige’s woodblock prints from the Hoeido Tokaido gojusantsugi(53 Stations of the Tokaido) series; one side showing a snow scene in
Kanbara and the other with a panoramic view of the harbour in Ejiri,
the base inscribed Kenzan; with a manju netsuke depicting a shrinein Mishima, inscribed Kenzan; and an ojime painted with a solitary
traveller beneath trailing branches of willow in Fujikawa, unsigned.
9.3cm (3 5/8in) high.

185 *A BOXWOOD THREE-CASE INRO
IN THE FORM OF A TORTOISE
Edo period (1615-1868), early-mid 19th century
The whole carved and textured to imitate a tortoise with its head
and legs retracted within its carapace, its eyes inlaid with horn,inscribed in a rectangular plaque Kinkazan no ju and with an
apocryphal signature Tomokazu within a wood rectangularreserve; with a marbled glass ojime.
10.2cm (4in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900£750 - 850
JPY96,000 - 110,000
US$930 - 1,100

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(interior)

186

44 | BONHAMS187

LACQUER WORKS OF ART
186 *A GOLD-LACQUER KODANSU (CABINET)
Meiji era (1868-1912), late 19th/early 20th century
Of convention form, raised on an integral scalloped base, the exterior
inset with five-lobed silver and gold edged panels, each framing
a different scene, elaborately decorated all over in gold, silver andpolychrome takamaki-e, hiramaki-e, e-nashiji and kirikane, the top
depicting the classic scene of Rosei (in Chinese Lu Sheng), reclining
upon a low bed, his face visible through the tanslucent shell fan withwhich he shades himself, to the top right his grandiose dream ofwealth and rank delicately lacquered in yamimaki-e with attendants
carrying the Emperor resting in his palaquin, the front depicting adisparate group of travellers in a ferryboat, the left side with Kanzan
and Jittoku extolling the contents of a long unfurled scroll, the rightwith a father and son on Boys’ Day watching an itinerant entertainer
performing in front of a banner painted with Shoki, the reverse
showing stags grazing beside young pine saplings on a moonlit
evening, the hinged double-doors opening to reveal a continuous
scene embellished in predominantly gold takamaki-e with an idealised
pananorama of pagodas, thatched dwellings and shrines nestledamong pine-clad undulating hills and possibly the Uji Brige spanning
the river, the design extending within to the six drawers decreasing
in height towards the top, each drawer fitted with a metal knop, thesides applied with a shakudo ring handle, the front appliedwith silvered-metal mounts chased with karakusa (‘Chinese grasses’),the inside of each drawer lined in purple silk and divided into
three compartments for the storage of inro, unsigned;with a wood storage box.
27.3cm x 31.5cm x 19cm (10¾in x 12 3/8in x 7½in). (2).

187 *A GOLD-LACQUERED WOOD TWO-PANEL FOLDING STAND
FOR DISPLAYING 12 INRO
Taisho (1912-1926) or Showa (1926-1989) era, early 20th century
The two lower sections embellished in gold and silver takamaki-e,e-nashiji and hiramaki-e with autumnal plants and flowers including
chrysanthemums, ominaeshi (valerian), hagi (bush clover), susuki(pampas grass) and kikyo (Chinese bellflower) bending in the gentle
breeze from behind a bamboo fence on a natural wood groundbeneath a crossbar applied with silvered-metal clasps in the form ofbutterflies for retaining the inro in position, the reverse decorated witha simple motif of Rinpa-style waves, the thin frames decorated with achequer design, unsigned; with a wood storage box.
40.5cm x 109.5cm (16in x 43 1/8in). (2).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700£10,000 - 15,000
JPY1,300,000 - 1,900,000
US$12,000 - 19,000
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(interior)
188

188 *
A RECTANGULAR GOLD-LACQUER KODANSU (CABINET)
Meiji era (1868-1912), late 19th/early century
The rich okibirame ground decorated in gold, silver, red and shelltakamaki-e with an all-over design of dragonflies in flight, the hinged
door opening to reveal three drawers of graduated size, the inside ofthe door and drawers embellished in gold togidashi maki-e with the
Aki no nanakusa (Seven Plants of Autumn): kikyo (Chinese bellflower),ominaeshi (valerian), hagi (bush clover), kiku (chrysanthemum),nadeshiko (pinks), susuki (pampas grass) and fujibakama(thoroughwort), each drawer fitted with a detachable tray divided
into compartments for storage and applied with silvered-metal knop
handles in the form of stylised flowerheads, the door and sides withsilvered mounts engraved with karakusa (‘Chinese grasses’), unsigned;with a lacquered storage box and fabric draw-string storage bag.
20cm x 25.5cm x 16cm (7 7/8in x 10in x 6¼in). (2).
£5,000 - 6,000
JPY640,000 - 770,000
US$6,200 - 7,400

189 *A GOLD-LACQUER INRO-DANSU(STORAGE CABINET FOR INRO)
Edo period (1615-1868) or early Meiji era (1868-1912),
mid/late 19th century
Of conventional form, the exterior decorated all over in gold and silver
takamaki-e, hiramaki-e and kirikane with landscape scenes inscribedin ink with the names of the 53 stations of the Tokaido in gold-lacquer
rectangular reserve, the interior of the detachable drop-front door
similarly embellished with the Sakon-no-sakura cherry tree and the
Ukon-no-tachibana mandarin-orange tree in front of the Imperial
Palace in Kyoto, branches of willow overhanging part of a bridge in theforeground and revealing six similarly sized drawers, each lacquered
in coloured hiramaki-e with a different geometric pattern including
shippo-tsunagi (linked cash), formalised waves, simulated basket
weave, fragmented rinzu (textile weave) and hanabishi (flowers withinlozenge shapes), each drawer applied with a silvered-metal knop in theform of chrysanthemum blossoms with silver ring handles, the inside ofeach drawer lined in blue velvet and fitted with four compartments forthe inro; the top applied with a silver ring handle and also applied withsilver engraved mounts to the front, unsigned, with a red-lacquered
box titled Tokaido gojusantsugi maki-e otansu (Maki-e cabinet withthe design of 53 stations of the Tokaido) and outer wood storage box.
30cm x 34cm x 20.3cm (11¾in x 13 3/8in x 8in). (3).
£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000

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(interior)

189

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(interior)

190

48 | BONHAMS

191
190 *
A RECTANGULAR RED-AND-BLACK-LACQUER INRO-DANSU(STORAGE CABINET FOR INRO)
Meiji era (1868-1912), late 19th/early 20th century
Of conventional form, decorated with simulated tsuba and kozuka
in gold and silver and coloured takamaki-e and hiramaki-e imitating
metalworking techniques, the interior of the door black lacquer,
similarly embellished with three arrowheads, with a detachable
drop-front and six numbered drawers applied with silvered-metalknops in the form of chrysanthemum blossoms with silver ringhandles, the inside of each drawer lined in velvet and fitted with four
compartments, unsigned; with a wood storage box.
29cm x 34.6cm x 22.5cm (11 3/8in x 13 5/8in x 8 13/16in). (3).
£8,000 - 10,000
JPY1,000,000 - 1,300,000
US$9,900 - 12,000
The simulated sword-fittings depicted on this lot are decorated witha typical selection of popular motifs, figures and subjects, including
Chokaro sennin, Hotei, Shoki the demon queller suduing a demonand sparrow dance from the story of the Shitakiri suzume (Tongue-Cut
Sparrow). The kogai and three tsuba bear the signatures of the famous
metalworkers, Toshinori, Gekkosai, Konzan and Taizan Motozane. For
other examples of such boxes, conventionally attributed to Shibata
Zeshin, see Joe Earle and Tadaomi Goke, Meiji no Takara: Treasuresof Imperial Japan, Masterpieces by Shibata Zeshin, London, Kibo
Foundation, 1996, cat. no.72, signed Zeshin; and Oliver Impey andothers, Meiji no Takara: Treasures of Imperial Japan, Lacquer Part II,
London, Kibo Foundation, 1995, cat. no.210; see also Barbra Teri
Okada, A Sprinkling of Gold: The Lacquer Box Collection of Elaine
Ehrenkranz, Newark NJ, Newark Museum, 1983, cat. nos.33, 34).

191 *A LARGE RECTANGULAR RED-LACQUER BOX AND COVER
Taisho (1912-1926) or Showa (1926-1989) era, early 20th century
Decorated with a Nanban-inspired scene in gold, silver and blacktakamaki-e, e-nashiji and hiramaki-e, the cover depicting a Portuguesecrew furling the sails of a three-master with flags depicting Christianemblems fluttering in the wind, performing acrobatic feats in the rigging
whilst an arriving foreign delegation clad in bombacha pantaloons andblack capes and accompanied by Jesuit missionaries wearing long
black gowns, is met by Japanese officials, some with trays of exotic
gifts and products whilst four dark-skinned servants are shown on
the reverse carrying a caged tiger, the interior of the cover and box
decorated with stylised fish and swallows scattered in a whorl design
representing waves on a lustrous black-lacquer ground, the interior
containing two removable fitted trays lined in blue velvet and divided
into compartments for the storage of inro, unsigned;with a lacquered storage box.
12.2cm x 40.2cm x 32.5cm (4¾in x 15¾in x 12¾in). (3).
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000
The decoration of this box reflects growing awareness of and interestin Japan’s Nanban era of Iberian influence during the early decades of
the twentieth century.

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(reverse)

192

SATSUMA EARTHENWARE192 *A LARGE SATSUMA VASE
By Kizan, Meiji era (1868-1912), late 19th/early 20th century
The front of the flattened shoulder body inset with five overlapping
square panels, two partially pierced, enclosing different genre scenes,
including one depicting figures enjoying the cherry-blossom-viewing
season, another an outdoor scene showing a family on the banks ofa river, standing underneath a magnolia tree, a third with a motherspinning thread in front of her three children and a fourth with abutterfly hovering over assorted vegetables and fruits, the reverse
depicting a leisurely spring outing of three beautiful middle-class ladies
and two children, all beneath encircling bands of seasonal flowers
and swirling brocade separated by geometric motifs; the base signedwith gilt seal Kizan seizo, with a wood storage box attached with acertificate by Mr Omori Kazuo.
24.5cm (9 3/8in) high. (2).
£5,000 - 8,000
JPY640,000 - 1,000,000
US$6,200 - 9,900

193

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(reverse)

193 *A SATSUMA KORO (INCENSE BURNER) AND COVER
By Yabu Meizan, Meiji era (1868-1912), late 19th/early 20th century
Finely decorated in enamels and gilt, the body with trailing vine
and purple and white wisteria beneath a band of densely clusteredchrysanthemums, the cover similarly painted with chrysanthemums
and pierced with two apertures in the form of stylised flowers,
surmounted by an archaic bracket finial supporting a tama
(jewel), signed on the base with gilt seal Yabu Meizan;
with a wood storage box.
8.5cm (3 3/8in) high. (3).
£6,000 - 8,000
JPY770,000 - 1,000,000
US$7,400 - 9,900

194

194 *
A LARGE BALUSTER SATSUMA VASE
By Okamoto Ryozan, Meiji era (1868-1912),
late 19th/early 20th century
Finely decorated in enamels and gilt with an all-over design of 12
overlapping differently shaped cartouches, each enclosing vibrantfigural, ceremonial or seasonal scenes representing the festivals of
the 12 months, reserved on a ground of tightly clustered formal gilt
flowerheads interspersed with repeated stylised foliate roundels andpaulownia crests, the shoulder with a wide band of fans and geometricmotifs, the base signed with seal Kyoto Ryozan beneath the Yasuda
Company trade mark and the Satsuma crest of the Shimazu family;
with wood storage box attached with a certificate by Mr Omori Kazuo.
31.2cm (11 7/8in) high. (2).
£6,000 - 8,000
JPY770,000 - 1,000,000
US$7,400 - 9,900

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195

195 *
A SATSUMA JAR AND COVER
By Kinkozan, Meiji era (1868-1912), late 19th/early 20th century
Decorated in enamels and gilt, the shouldered ovoid body pieredwith four triangular-shaped apertures and inset with two large lobed
rectangular panels, one depicting a family of chickens by a cherry tree
beside stalks of peonies growing behind a bamboo fence, the otherwith a shijukara (Japanese tit) perched on branches of trailing whiteand purple wisteria above flowerinig azalea, separated by lappet panels
enclosing formalised floral motifs paintd in gilt on a blue ground, theintegral cover similarly decorated and surmounted by a finial in the formof two large circular petals, the base signed with seal Kinkozan zo; witha wood storage box attached with a certificate by Mr Omori Kazuo.
28cm (11in) high. (3).
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000

52 | BONHAMS

196

196 *
A SATSUMA VASE
By Kinkozan, Meiji era (1868-1912), late 19th/early 20th century
Finely decorated in enamels and gilt with a vibrant summer scene
depicting a winding procession of dancers of mixed classes painted
in diminishing size, each attired in a different outfit and taking a
different pose, some holding fans and dancing to the accompanimentof music, including samurai, children, tea masters, women from noble
households, itinerant entertainers, townsmen and courtesans above
windswept pampas grasses encircling the foot of the vase; the basesigned with seal Kinkozan zo; with a wood storage box attached witha certificate by Mr Omori Kazuo.
24.6cm (9 5/8in) high. (2).
£4,000 - 6,000
JPY510,000 - 770,000
US$5,000 - 7,400

197 *A LARGE FOUR-SIDED RECTANGULAR
SATSUMA VASE
By Kinkozan, Meiji era (1868-1912),
late 19th/early 20th century
Decorated in enamels and gilt, the vase painted
with a continuous autumnal scene during themaple-viewing season with groups of families
from different social classes enjoying an outing
along the banks of a river where different autumn
flowers including chrysanthemums, fuyo (rosemallow), peonies, ominaeshi (valerian) are in fullbloom with hills and thatched tea-houses in the
distance, the shoulder with four petal-shaped
panels enclosing women and children engaged
in various indoor activities such as flower
arrangement and playing board games, reserved
on a ground of tightly clustered flowerheads, theneck with a band of lappets enclosing geometricmotifs, signed on the base with seal Kinkozan
zo; with a wood storage box attached with acertificate by Mr Omori Kazuo.
48cm (18 7/8in) high. (2).
£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000
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198
198 *
A SATSUMA BOWL
Painted by Sozan for the Kinkozan factory, Meiji era (1868-1912),
late 19th/early 20th century
Finely decorated in enamels and gilt, the interior with a circular panel
depicting a cockerel and hen on the banks of a stream besides fuyubotan (winter peonies) growing from a snow-covered rice stook,
surrounded by three bands of chrysanthemums interwoven among
karakusa (‘Chinese grasses’), paulownia crests and fern; the exterior
with three fan-shaped panels each enclosing a different arrangementof scholarly implements and utensils for the tea ceremony reserved
on a moss-green ground of stylised sprigs of fern, each panel signed
Sozan, the base signed Kyoto Kinkozan seizo with two seals within ahorizontal hanging unfurled scroll-shaped cartouche, with impressed
seal Kinkozan; with wood storage box attached with a certificate
by Mr Omori Kazuo.
5cm x 11.5cm (2in x 4½in). (2).
£5,000 - 8,000
JPY640,000 - 1,000,000
US$6,200 - 9,900
54 | BONHAMS

199

199 *
A SATSUMA BOWL
By Seikozan, Meiji era (1868-1912), late 19th/early 20th century
Finely decorated in enamels and gilt, the interior painted with 15
frolicking monkeys eating or playing with peaches, watermelons orsquashes, surrounded by eight roundels, each enclosing a different
Chinese figure accompanied by several karako reserved on a ground offlowering branches of cherry, the exterior with spiral panels enclosing
several Chinese boys at play among stylised white tendrils alternatingwith formalised arrangments of tightly clustered chrysanthemum
heads; the base signed in gilt Kozan sei (shortened form of Seikozan)
within a rectangular cartouche; with a wood storage box attached witha certificate by Mr Omori Kazuo.
7cm x 11.5cm (2¾in x 4½in). (2).
£5,000 - 8,000
JPY640,000 - 1,000,000
US$6,200 - 9,900

200 *AN UNUSUAL CYCLINDRICAL SATSUMAVESSEL AND COVER
By Okamoto Ryozan, Meiji era (1868-1912),
late 19th/early 20th century
Finely decorated in enamels and gilt, constructedin three removable sections, the circular coverdepicting an oudoor scene with a middle-classfamily enjoying the cherry-blossom-viewing season,
the inside of the lid painted with a taro plant andbeans, the upper section painted on one side witha mother playing go with children and another
woman teaching them to read, a pair of quails
among autumnal grasses and flowers on the other,
all beneath a border of swirling brocade, the interior
with a lobster lying over vegetables, assorted shells
and a blowfish; the lower section painted with two
lobed panels enclosing two outdoor figure scenes,
one depicting a middle-class family in the groundsof a shrine and the other with figures visiting a plantfair, the interior with an assortment of fruits, thesides applied with two handles in the form of lidded
miniature boxes, each painted with contrasting
scenes; the base signed in gilt Dai Nihon Kyoto Tojiki
Goshigaisha Ryozan beneath the Yasuda Company
trade mark, with a wood storage box attached witha certificate by Mr Omori Kazuo.
10.4cm x 16cm (4 1/16in x 6¼in). (6).
£4,000 - 6,000
JPY510,000 - 770,000
US$5,000 - 7,400(reverse)

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201 (part lot)

A EUROPEAN PRIVATE COLLECTION OF NETSUKE(Lots 201-250)
201Y ФFIVE EARLY IVORY FIGURE NETSUKE
Edo period (1615-1868), 18th century
The first of a sennin standing, holding a gourd over one shoulder,unsigned, 11.3cm (4½in) high; the second of a sennin holding a fruit
on a stalk, unsigned, 11.1cm (4 3/8in) high; the third of Gama Sennin
holding his toad on his shoulders, signed Masamitsu, 7.9cm (3 1/8in)
high; the fourth of Gama Sennin holding a peach, a large toad on his
head, unsigned, 7.9cm (3 1/8in) high; the fifth of a man holding a staff,
unsigned, 7cm (2¾in) high. (5).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
202Y Ф
AN IVORY NETSUKE OF A SENNIN
Edo period (1615-1868), 18th century
Standing, smiling as he looks to the right, holding a small double gourd
with one hand and a larger gourd over his shoulder with the other, thesomewhat worn ivory bearing a good patina; unsigned.
8.5cm (3 3/8in) high.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200

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203Y Ф
AN IVORY NETSUKE OF SHOSHI SENNIN
Edo period (1615-1868), 18th century
Standing on one foot, smiling as he looks up to the right while
supporting a large dragon on his back, its head over his shoulder,
the slightly worn ivory bearing a good patina; unsigned.
7.3cm (2 7/8in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
204Y Ф
AN IVORY NETSUKE CONVERTEDFROM A CHINESE CARVING
Edo period (1615-1868), 18th century
The figure of a Chinese woman standing, looking down to her right,
one hand enveloped in a voluminous sleeve, the ivory rather wornand bearing traces of coloured pigment; unsigned.
7.3cm (2 7/8in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

202

203

205

204

206

205Y Ф
AN IVORY NETSUKE OF BUSHO KILLING A TIGER
Edo period (1615-1868), 18th century
The warrior seated astride the flailing tiger and about to kill it with ablow from his fist, the episode boldly rendered in slightly worn andwell-toned ivory; unsigned.
4.8cm (1 7/8in) high.

206Y Ф
AN IVORY NETSUKE OF GAMA SENNIN
Edo period (1615-1868), late 18th/early 19th century
Seated with a morose expression, one knee raised supporting a toadon the back of his head, a gourd flask at his waist, the ivory slightly
worn with a good patina; unsigned.
4.8cm (1 7/8in) high.

£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200

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207 (part lot)

207Y Ф
SIX EARLY IVORY NETSUKE
Edo period (1615-1868), 18th century
The first of Hotei seated, leaning on his sack, unsigned, 4.5cm (1¾in)
wide; the second of a small man carrying a huge gourd on his back,unsigned, 6cm (2 3/8in) high; the third of a monkey trainer standing
on one foot, supporting his monkey on his shoulder, unsigned,
7.6cm (3in) high; the fourth of a small boy standing on Hotei’s sack,unsigned, 4.2cm (1 5/8in) high; the fifth of a Chinese sage seated,leaning on an elbow rest, unsigned, 4.5cm (1¾in) wide; the sixth of
a sennin holding a monkey on his shoulder, unsigned, 8.9cm (3½in)
high. (6).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
208Y Ф
AN IVORY NETSUKE OF A MONKEY TRAINER
Edo period (1615-1868), 18th century
Standing, holding a bamboo cane and a basket of food with one
hand while supporting his performing monkey on his shoulder with theother, the slightly worn ivory bearing a good patina; unsigned.
8cm (3 1/8in) high.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200

209Y Ф
AN IVORY NETSUKE OF KAN’U
Edo period (1615-1868), late 18th/early 19th century
Standing in a typically dignified attitude, holding his polearm with one
hand and his long beard with the other, his long robe carved with
scattered clouds and the stained ivory slightly worn; unsigned.
8.5cm (3 3/8in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
210Y Ф
AN IVORY NETSUKE OF A FOX IN HUMAN ATTIRE
Edo period (1615-1868), early 19th century
Masquerading as a woman, dancing on one foot, wearing a beltedrobe and cowl, holding a bamboo cane behind its back with one
hand, the other raised over its head, the slightly worn ivory bearing agood patina; signed Masatsugu.
6.4cm (2½in) high.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
211Y Ф
AN IVORY NETSUKE OF A SENNIN
Edo period (1615-1868), 18th century
Standing, leaning to one side, one hand raised to his head as he looks
down at two diminutive figures, one wearing a tall Korean-style hat,the other holding a short length of rope at his feet, the slightly worn
ivory bearing a good patina; unsigned.
5.7cm (2¼in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

58 | BONHAMS

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211

209

210

212

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212Y ФFOUR IVORY FIGURE NETSUKE
Edo period (1615-1868), late 18th to early 19th century
The first of Gama Sennin smiling as he supports a large toad on hisshoulders, unsigned, 5.1cm (2in) high; the second of Gama Sennin
holding a three-legged toad on his back, unsigned, 6cm (2 3/8in)
high; the third of a fishergirl holding an abalone and a curved knife,
unsigned, 6.4cm (2½in) high; the fourth a fisherman standing on one
foot and holding a large clam on a line over his shoulder, unsigned,
6.7cm (2 5/8in) high. (4).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
Illustrated on page 59.
213Y Ф
TWO IVORY NETSUKE
Edo period (1615-1868), early to mid 19th century
The first of Raijin the Thunder God seated on a large swirling cloudwith thunderbolts tied with a line over his shoulder, and with a small
drum at his side, unsigned, 4.2cm (1 5/8in) high; the second of Shoki
pinching the cheek of a captured oni (demon) who attempts to fleewith a stolen stupa, signed Ikkosai,
4.8cm (1 7/8in) high. (2).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
214Y Ф
AN IVORY NETSUKE OF TEISHIEN
Edo period (1615-1868), early 19th century
In the form of a tsuitate (free-standing screen), carved in the round with
the Chinese sage and a tiger beneath an overhanging pine tree, theedges of the screen carved with keyfret designs; unsigned.
4.2cm (1 5/8in) wide.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
215Y Ф
SEVEN IVORY NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912),
late 18th to late 19th century
The first of a young boy sprawling over Hotei’s sack, unsigned, 6.5cm(2 3/8in) wide; the second of two boys playing with a turtle on a line,
unsigned, 3.8cm (1½in) wide; the third of a small boy standing on alarge mokugyo (wooden gong), unsigned, 4.2cm (1 5/8in) high; thefourth of five small boys playing koro-koro (running in a circle), holding
a mask between them, unsigned, 4.2cm (1 5/8in) wide; the fifth a
small boy with two puppies, signed Tomonobu, 4.5cm (1¾in) high; thesixth a man in formal attire hiding on a covered jar in the form of a bell,
signed Hokoku, 5.1cm (2in) high; the seventh a miniature netsuke of ababy boy holding a pole, unsigned, 3.5cm (1 3/8in) wide. (7).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
60 | BONHAMS

216Y Ф
TWO IVORY FIGURE NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912),
mid-late 19th century
The first of three fighting oni (demons), one beating another over thehead while the third lies on the ground, trying to protect himself, signed
Ikkosai, 4.5cm (1¾in) high; the second of a horseman turning in thesaddle as he gallops over a low base, unsigned, 5.7cm (2¼in) wide. (2).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
217Y Ф
AN IVORY NETSUKE OF HOTEI
Edo period (1615-1868), early-mid 19th century
Standing, lifting his robe up with one hand, leaving his legs bare, holding
his sack over his head with the other, as he prepares to ford a stream,
his robe and sack engraved with brocade designs; inscribed in an oval
reserve Masanao.
6.4cm (2½in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
The engraved designs on the god’s robe and sack show affinities withthe work of Hidemasa of Osaka, who made a number of netsuke withthe spurious signature of Masanao of Kyoto. However, those recorded
are engraved with the ‘signature’ in the calligraphy of Hidemasa, whilethat on the present example is very much in the calligraphy of Masanao.
It is possible that the work is that of Masanao, with later added
engraved designs and legs.
218Y Ф
AN IVORY NETSUKE OF A FISHERMAN
Edo period (1615-1868), 19th century
The small man wearing a mino (straw rain cape) attempting to repel
a giant octopus which encircles him with his tentacles and legs, one
forming the himotoshi, the ivory lightly stained; unsigned.
4.2cm (1 5/8in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

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214

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216

217

218
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219 (part lot)
219Y ФFIVE LATE IVORY OKIMONO-STYLE NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912),
mid-late 19th century
The first of a pilgrim calling out while beating a small suzu (bell),unsigned, 8cm (3 1/8in) high; the second of a long-legged man
standing beside a boy holding a large fish on his head, unsigned,
11.3cm (4 3/8in) high; the third of a man struggling to rise beneaththe weight of a stolen temple bell, signed Gyokuzan, 4.8cm (1 7/8in)wide; the fourth of a pedlar with a tray of sweets on his head, signed
illegibly, 5.4cm (2 1/8in) high; the fifth of a disappointed rat catcher,signed Okawa Muneshige, 5.1cm (2in) wide. (5).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
220Y ФFIVE IVORY OKIMONO-STYLE NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912),
mid-late 19th century
The first a man holding a snake with one hand and a large toad on
his shoulder with the other, unsigned, 6.4cm (2½in) high; the second
three drunken servants, 4.5cm (1¾in) wide; the third a man seated,
peeling a fruit, signed Minkoku, 4.5cm (1¾in) high; the fourth two men
with a huge chicken, signed Hideyoshi, 4.5cm (1¾in) wide; the fifth
Ashinaga with a long-armed monkey on his back, inscribed Doraku,
7cm (2¾in) high. (5).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
221Y ФFIVE IVORY OKIMONO-STYLE NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912),
mid-late 19th century
The first numerous small monks seated in a huge mokugyo (templegong) which rests on a long calligraphic text while numerous small
demons climb on top, signed Gyokuzan, 6cm (2 3/8in) wide; thesecond a man on horseback, riding over a bridge accompanied
62 | BONHAMS

by four attendants, signed Gyokko, 6.7cm (2 5/8in) wide; thethird numerous legendary figures fighting over a low base, signed
Meigetsu, 5.7cm (2¼in) wide; the fourth the Seven Gods of Good
Fortune in their Treasure Ship, signed Soichi (Munekazu),
6cm (2 3/in) high; the fifth two children wrestling with a referee,unsigned, 4.5cm (1¾in) wide; each with a wood stand. (10).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
222Y Ф
TWO IVORY FIGURE NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912), 19th century
The first of a Dutchman standing, holding a wind instrument with one
hand and supporting a young boy on his back with the other, his robe
engraved with karakusa, inscribed Masanao, 5.1cm (2in) high; thesecond of Hotei wearing a loin cloth and seated, playing with a smallboy, the ivory stained, signed Hidekazu, 3.8cm (1½in) wide. (2).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
The first is attributed to Hidemasa of Osaka who made a number of
netsuke with the apocryphal signature of Masanao.
223Y Ф
AN IVORY OKIMONO-STYLE NETSUKE
OF A DISAPPOINTED RAT CATCHER
Meiji era (1868-1912), late 19th/early 20th century
Half-kneeling on the ground and crying out in agony as he presses
down on a box trap while a rat escapes over his back, unsigned;with wood stand.
4.2cm (1 5/8in) wide. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

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224Y ФSIX IVORY ANIMAL NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912),
18th to late 19th century
The first a Chinese sage standing by a recumbent horse on a base,unsigned, 4.2cm (1 5/8in) wide; the second a horse with a groom ona low base, unsigned, 3.2cm (1¼in) wide; the third a boy with an ox
on a rectangular base, unsigned, 3.8cm (1½n) wide; the fourth a farmwoman with a laden ox on a base, unsigned, 3.8cm (1½n) wide; thefifth a boy flautist seated on a walking ox, signed Masayama,
4.2cm (1 5/8in) wide; the sixth a monkey seated on a grazing horse,
signed Ikko, 4.2cm (1 5/8in) wide. (6).
£900 - 1,200
JPY120,000 - 150,000
US$1,100 - 1,500
225Y Ф
AN IVORY NETSUKE OF A BAKU
Edo period (1615-1868), early 19th century
Seated on a low rectangular base with canted corners and looking
up, its trunk curled over for compactness and flames licking around its
flanks, the ivory slightly worn; unsigned.
6.5cm (2 3/8in) high.
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
226Y Ф
AN IVORY NETSUKE OF A SHISHI
By Gechu, Edo period (1615-1868), late 18th/early 19th century
Seated, its head turned to the left and with a loose ball in its open
mouth, as it protects a large smooth ball beneath its forepaws, theivory slightly worn and the pupils inlaid; signed Gechu.
4.8cm (1 7/8in) high.
£3,000 - 5,000
JPY380,000 - 640,000
US$3,700 - 6,200
The abode of Gechu has been discussed by numerous scholars
and has ranged from Osaka to Kagoshima. His style has often been
likened to that of Risuke Garaku of Osaka, by whom a very similar
example, in wood, is illustrated in Frederick Meinertzhagen, MCI: The
Meinertzhagen Card Index on Netsuke in the Archives of the British
Museum, New York, Alan R. Liss Inc., 1986, p.71.

227Y Ф
AN IVORY NETSUKE OF AN ONI (DEMON)
Edo period (1615-1868), 18th century
Lying on his front wearing tiger-skin pants, his head resting on his
hands as he stares ahead, a rat chewing a branch of holly leaves on
his back, the slightly worn ivory bearing a good patina; unsigned.
4.8cm (1 7/8in) wide.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
The rat with holly leaves on the back of the oni is a reference to thedemon who was sent by Enma-o, the King of Hell, to destroy the
God of Wealth, Daikoku. The latter was warned of the danger anddispatched his pet rat to drive off the would-be assassin. The rodent
found the demon sleeping and scratched his back with holly leaves,which frightened him away.
228Y Ф
AN IVORY NETSUKE OF THE THUNDER GOD
Edo period (1615-1868), late 18th century
The Thunder God standing amid swirling clouds, his upper bodyflanked by six drums and a lightning bolt carved in relief on the reverse,
the ivory bearing a good patina; unsigned.
7cm (2¾in) high.
£1,200 - 1,800
JPY150,000 - 230,000
US$1,500 - 2,200
229Y Ф
AN IVORY NETSUKE OF A DRAGON
By Yoshimasa, Kyoto, Edo period (1615-1868),
late 18th/early 19th century
Emerging from an alms bowl on a cloud of vapour, its head turned, itsback arched, forming a compact composition in slightly worn and welltoned ivory, the pupils inlaid; signed Yoshimasa.
6.4cm (2½in) high.
£4,000 - 5,000
JPY510,000 - 640,000
US$5,000 - 6,200
For a very similar example by Yoshimasa, see Neil K. Davey, Netsuke: aComprehensive Study Based on the M. T. Hindson Collection, London,
Faber & Faber Ltd. and Sotheby Parke Bernet Publications, 1974,
p.60, no.147.
230Y Ф
AN IVORY NETSUKE OF A RECUMBENT OX
Kyoto, Edo period (1615-1868), early 19th century
Lying with its head turned to the right, its legs drawn in forcompactness and a rope halter passing over its back, the well-toned
ivory slightly worn and the pupils inlaid; inscribed in a rectangularreserve Tomotada.
6cm (2 3/8in) wide.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

64 | BONHAMS

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226

227

225

229

228
230
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231Y ФAN IVORY NETSUKE OF A SEATED DOG
By Yoshinaga, Kyoto, Edo period (1615-1868), early 19th century
Seated, its head lowered as it gnaws at a fish, the head already eaten,
the slightly worn ivory of a good colour and the pupils inlaid; signed inan oval reserve Yoshinaga.
5.1cm (2in) wide.
£5,000 - 6,000
JPY640,000 - 770,000
US$6,200 - 7,400
232Y Ф
AN IVORY NETSUKE OF A KAPPA
By Ikkyu, Edo period (1615-1868)
or Meiji era (1868-1912), 19th century
Standing and leaning forward beneath the weight of a large straw
parcel of shells from which an octopus escapes on his back, the ivory
lightly stained and the eyes inlaid; signed in an oval reserve Ikkyu.
5.4cm (2 1/8in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
The work of Ikkyu is almost entirely of wood, although Meinertzhagen
mentions one ivory example, without stating its subject. The present
example is of a subject which he carved in wood and the signatureappears to be authentic. A similar study of a kappa carrying a huge
cucumber is illustrated in George Lazarnick, Netsuke and Inro Artists
and How to Read Their Signatures, Honolulu, Reed Publishers,
1982, p.513.
233Y Ф
AN IVORY NETSUKE OF A MONKEY AND YOUNG
By Isshusai, Edo, Edo period (1615-1868)
or Meiji era (1868-1912), mid 19th century
The former seated, holding a peach and grooming one of its offspringwhich lies on its back, while another climbs over its parent’s back, theivory stained and the pupils inlaid; signed Isshusai.
4.5cm (1¾in) wide.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
234Y Ф
AN IVORY NETSUKE OF A MONKEY
By Masatami, Meiji era (1868-1912), late 19th/early 20th century
Seated, holding a shishi mask and cloak over its head with one hand,
and with a drum at its feet, the ivory stained and the pupils inlaid;signed in a rectangular reserve Masatami.
4.8cm (1 7/8in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

66 | BONHAMS

235Y Ф
AN IVORY NETSUKE OF FIVE RATS
Meiji era (1868-1912), late 19th century
Tumbling over each other and holding bunches of grapes, forming acompact pyramid in unstained ivory, the eyes inlaid; unsigned.
4.5cm (1¾in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
The work shows affinities with that of Kaigyokusai Masatsugu of
Osaka who had a number of followers working at the end of the
19th century, making netsuke for export.
236Y Ф
THREE IVORY AND ONE WOOD ANIMAL NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912),
early to late 19th century
The first of a monkey seated, leaning forward to scratch its thigh,the ivory stained and the eyes inlaid, signed Kaigyoku, 3.2cm (1¼in)
wide; the second of a monkey trying to entice a tortoise from its shell,
signed Kogyoku, 4.2cm (1 5/8in) wide; the third of a dragon woundtightly around a large tama (jewel), unsigned, 4.2cm (1 5/8in) wide; thefourth of wood, of a monkey being taunted by two offspring,
signed Hokuzan,
4.5cm (1¾in) high. (4).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
237Y Ф
AN IVORY NETSUKE OF A SHISHI AND YOUNG
By Genryosai Minkoku III, Edo period (1615-1868), mid 19th century
The adult recumbent on an oval base, one forepaw resting on an
openwork ball while her two offspring sit at her side, the ivory darkstained; signed Genryosai Minkoku.
5.1cm (2in) wide.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200

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232

233

234

235

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238 (part lot)239
240 (part lot)

240 (part lot)
238Y ФFIVE MANJU AND
KAGAMIBUTA NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), mid-late 19th century
Four manju, the first of oval form, carved
and pierced with fruit and foliage, unsigned,
5.1cm (2in) wide; the second carved in sunkrelief with a boy seated on an elephant,signed Hogyoku with kao, 4.5cm (1¾in)
diam., with attached chain; the third carved,
pierced and lacquered with a tennin (Buddhist
angel), unsigned, 3.8cm (1 5/8in) diam.;
the fourth carved in low relief with a tennin(Buddhist angel), inscribed Seimin, 3.8cm(1½in) diam.; the kagamibuta with shibuichi
plate inlaid with a shishimai dancer, unsigned,
4.5cm (1¾in) diam. (5).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200

239Y Ф
TWO IVORY NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), mid-late 19th century
The first a three-eyed goblin Mitsume-kozo
appearing by a group of various objects,
including a tray of archetypal treasures, a fruitwith interior carving, a bunch of coral and alarge box with a banner on the top, signed
Gyokuhosai, 5.4cm (2 1/8in) wide, withwood stand; the second of a shoe, partly
pierced and with a small dragon holding ahandscroll to one side, alluding to the legendof Kosekiko and Choryo, unsigned,
4.8cm (1 7/8in) wide. (3).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

240Y Ф
NINE MASK NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), 18th to late 19th century
Five of wood, comprising a mask of Okame,signed Shumin saku; another of Hannya,
unsigned; a hyottoko (funny-man mask),
unsigned; a mask of a demon, signed Sani;
and a group of nine masks for the No andKyogen plays, unsigned; three of ivory,
comprising Hannya, unsigned; a groupof eleven No and Kyogen masks, signed
Reiosai; a group of seven No masks, signed
Kikukawa; and a bone mask of Hannya,
unsigned. The smallest 3.8cm (1½in),the largest 5.1cm (2in). (9).
£850 - 1,000
JPY110,000 - 130,000
US$1,100 - 1,200241
242 (part lot)243 (part lot)
241
A LARGE WOOD NETSUKEOF IKKAKU SENNIN
Edo period (1615-1868), 18th century
Standing, his head turned to one side as
he carries his wife Sendaramo on his back,his single horn folded back over his headfor compactness, the well-patinated wood
somewhat worn; unsigned.
13.7cm (5 3/8in) high.
£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900

242
TEN WOOD FIGURE NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), 18th to late 19th century
Comprising: Gama Sennin standing, holding
his toad on his shoulder, unsigned; a sennin
standing, holding a gourd and his beard,
unsigned; Hotei seated, smiling, unsigned; adisappointed rat catcher, signed Hidenaga;a beggar trying to lift his hugely distended
scrotum, signed Hakudosai; a professionalsneezer, unsigned; a lacquered netsuke of
Daruma stretching, unsigned; a paintedwood figure of Shoki, signed Sanko; anotherof a shojo, signed Shuzan; and a tea-wood
figure of a farm woman, unsigned. The
smallest 3.8cm (1½in), the largest 8.9cm(3½in). (10).
£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900

243
FIVE WOOD AND LACQUER NETSUKE
Edo period (1615-1868),
late 18th to mid 19th century
The first a tiger seated, its mouth open and its
eyes inlaid, unsigned, 3.8cm (1½in) high; thesecond a recumbent goat, its head turnedto the left, unsigned, 3.8cm (1½in) wide;
the third a shishi seated with one paw on asmooth ball, unsigned, 3.2cm (1¼in) wide;
the fourth a red-lacquer netsuke of two shishi
playing on a base, unsigned, 3.8cm(1½in)
wide; the fifth a wood manju carved andpierced with tea ceremony utensils andwriters’ accoutrements, unsigned, 4.2cm(1 5/8in) diam. (5).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
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244Y ФA LARGE WOOD NETSUKE OF A COMIC PERFORMER
Edo period (1615-1868), 19th century
Wearing an ivory mask of Okame, standing, one hand held aloft, theother lifting his robe, a tobacco pouch with pipe case and ivory manju
netsuke slung at his waist; unsigned.
8.9cm (3½in) high.

248Y ФA WOOD AND IVORY NETSUKE OF A BOY ON AN OX
Edo period (1615-1868) or Meiji era (1868-1912), mid 19th century
The ebony ox recumbent, its head raised to the right and its eyes inlaid
with pale horn, the boy seated on its back, playing a flute, his coatgold lacquered with Buddhist wheels; unsigned.
5.4cm (2 1/8in) wide.

£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200245
A WOOD OKIMONO-STYLE NETSUKE OF SHOKIBy Suzuki Tokoku (1846-1913), Tokyo, Meiji era (1868-1912),
late 19th/early 20th century
The demon-queller standing on a rocky ledge, looking up and cryingout as a green-stained bone oni (demon) escapes from a bag which
he holds with both hands to his chest, his sword slung from his waist
at the back, the wood variously stained for effect; signed Tokoku
with inlaid seal Bairyu.
6.6cm (2 5/8in) high.

249
A WOOD OKIMONO-STYLE NETSUKE
OF AN EAGLE AND MONKEY
Edo period (1615-1868) or Meiji era (1868-1912), mid 19th century
The large bird, with wings partly spread, standing on the terrified
captured monkey and about to kill it, the eyes of pale translucent hornwith dark pupils; unsigned.
4.8cm (1 7/8in) high.

£3,000 - 5,000
JPY380,000 - 640,000
US$3,700 - 6,200
246Y Ф
TWO LARGE WOOD OKIMONO-STYLE FIGURE NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912), mid 19th century
The first a man seated, looking up and playing kami-fuki while holding
a closed ivory fan with one hand, the signature panel missing, 7.6cm(3in) high; the second similarly modeled as a professional sneezer,
begging for alms as he tickles his nose with a short ivory stick,the signature panel missing, 6.7cm (2 5/8in) high. (2).
£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900
Kami-fuki is a forfeit game in which the player attempts to blow a small
piece of paper from his head without using his hands.
247
A WOOD OKIMONO-STYLE NETSUKE OF FIVE TURTLES
By Tadakazu, Meiji era (1868-1912), late 19th/early 20th century
One large turtle making a base for the other four to climb upon,
forming an irregular pyramid, the pupils inlaid, signed in a sunken
oval reserve Tadakazu; with an associated wood stand.
5.4cm (2 1/8in) high. (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

70 | BONHAMS£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
250
A SMALL WOOD NETSUKE OF A MONKEY
By Tomokazu, Gifu, Edo period (1615-1868), early 19th century
Seated, its mouth wide open as it holds a shishimai mask and cloak
over its head and back, one leg forming the himotoshi and the pupils
inlaid; signed in an oval reserve Tomokazu.
3.2cm (1¼in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

244

245

247

246

250

248

249
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251

252 (part lot)253

OTHER NETSUKE
Property from Another European
Private Collection(Lots 251-264)
251
FOUR WOOD FIGURE NETSUKE
Edo period (1615-1868),
late 18th to early 19th century
The first an oni (demon) crouching andtrying to hide from beans that are thrown to
exorcise him, signed Minko, 3.2cm (1¼in)high; the second Gama Sennin with a large
toad, signed Miwa with seal, 4.2cm (1 5/8in)wide; the third a seated oni (demon), signed
Miwa with seal, 4.2cm (1 5/8in) wide; thefourth two human skeletons, one massaging
the other’s shoulders, inscribed Minko, 3.8cm(1½n) wide. (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
72 | BONHAMS252
FIVE WOOD NETSUKE
Edo period (1615-1868),
early to mid 19th century
The first of a kirin seated on an oval base,unsigned, 4.5cm (1¾in) high; the secondof two chestnuts of differing size, signed
Minko with kao, 3.8cm (1½in) high; the thirdof a shishi crouching over an openwork
ball, signed Masatsugu, 3.8cm (1½in)
wide; the fourth of a seated tiger, signed
Masanao, 4.5cm (1¾in) wide; the fifth of an
awabi (abalone), signed illegibly with ukibori
characters, 4.5cm (1¾in) wide. (5).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

253Y Ф
FOUR WOOD OKIMONO-STYLE
NETSUKEEdo period (1615-1868) or Meiji era(1868-1912), mid-late 19th century
The first a monkey seated, its body twisted
as it grooms its leg, the pupils inlaid, signed
Homin to, 6cm (2 3/8in) high; the second
Daikoku standing on two rice bales, a rat ona large mallet at his side, unsigned, 4.8cm(1 7/8in) wide; the third the three mystic
apes seated in a circle facing outwards,
unsigned, 4.8cm (1 7/8in) high; the fourth a
man carrying a huge Daruma doll with threemovable faces, signed Chikuho, 5.1cm (2in)high. (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

254

255

256
254Y Ф
FOUR IVORY NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), 19th century
The first of a tengu hatching from its egg,
signed Garaku, 4.8cm (1 7/8in) high; thesecond of a shishi resting with a mokugyo(wooden gong) on a folded mat, unsigned,
3.8cm (1½in) wide; the third of a kaki fruit,signed Naokazu, 3.8cm (1½in) wide; thefourth of a shishi crouching over a largesmooth ball, a loose ball in its mouth, signed
Hidekazu, 3.2cm (1¼in) wide. (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

255Y Ф
FOUR IVORY NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), 19th century
The first five turtles climbing around a large
covered box, unsigned, 3.5cm (1 3/8in)wide; the second a shishi seated on a squareseal base, signed in seal form, 3.2cm (1¼in)high; the third a shishi seated protecting alarge smooth ball, a loose ball in its mouth,
unsigned, 4.2cm (1 5/8in) wide; the fourtha square manju carved in sunk relief with
Oniwaka, signed Kogyoku, 3.8cm (1½in)wide. (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

256Y Ф
FOUR LATE IVORY NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), early to late 19th century
The first Hanasaka Jiji using ashes to makea withered tree blossom, unsigned, 4.2cm(1 5/8in) wide; the second a saddled horse
walking over an oval base, signed Tomochika,
3.8cm (1½in) wide; the third Fukurokuju
seated on a stag on a base, unsigned, 5.1cm(2in) high; the fourth a poet seated in an open
boat, a book on a stand at his side, signed
Shinsai, 4.5cm (1¾in) wide. (4).
£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900

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257
A WOOD NETSUKE OF A TOAD AND YOUNG
By Tametaka, Nagoya, Edo period (1615-1868), 18th century
A large toad, with knobbly skin, resting and facing ahead while two
offspring sit on its back, the wood rather worn and bearing a finepatina; signed Tametaka.
4.8cm (1 7/8in) wide.
£2,000 - 2,500
JPY260,000 - 320,000
US$2,500 - 3,100
For a very similar example, see Arlette Katchen, Netsuke 7,
Paris, K. R. Publishers, 2010, p.51, no.K615.
258
A WOOD NETSUKE OF A DOG AND BALL
Attributed to Tametaka, Nagoya, Edo period (1615-1868),
18th century
The long-haired dog seated, its head raised as it looks up to the left
while protecting a large smooth ball beneath one forepaw, the rather
worn wood bearing a fine patina; unsigned.
4.5cm (1¾in) wide.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
259
A WOOD NETSUKE OF TWO PUPPIESBy Kokei, Kuwana, Edo period (1615-1868), early 19th century
The two chubby dogs playfully fighting, rolling over each other andforming a compact composition in lightly stained wood, one leg
forming the himotoshi; signed in a polished reserve Kokei.
3.2cm (1¼in) wide.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
260
A WOOD NETSUKE OF INO HAYATA SLAYING THE NUE
By Tanaka Minko, Tsu (1735-1816), Edo period (1615-1868),
late 18th/early 19th century
The hero wearing part armour and seated astride the struggling beast
as he strikes it with his sword, forming a compact composition insomewhat worn and well-patinated boxwood; signed Minko.
3.8cm (1½in) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

74 | BONHAMS

261
AN EBONY NETSUKE OF KIYOHIME ON THE DOJOJI BELL
By Tanaka Minko (1735-1816), Edo period (1615-1868),
late 18th/early 19th century
The dragon witch winding herself around the large bell to trap thepriest Anchin, the object of her unrequited love, within, the story
powerfully rendered in slightly worn wood; signed Gose Minko.
4.5cm (1¾in) wide.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
Tanaka Minko made several variations on the theme of Kiyohime andthe bell of Dojoji, popularised in the No drama with the same title.
A very similar example is illustrated in Frederick Meinertzhagen,
MCI: The Meinertzhagen Card Index on Netsuke in the Archives of the
British Museum, New York, Alan R. Liss Inc., 1986, p.510, top right.
The name Gose Minko, a signature which appears on a small numberof his carvings could be translated as ‘Minko of the five streams’.
262Y Ф
AN IVORY SEAL NETSUKE OF A SHISHI
Edo period (1615-1868), 18th century
Standing on a rectangular base, its head lowered and its curly tailerect, the underside of the base carved with a four-character seal
flanked by two smooth dragons; unsigned.
5.1cm (2in) high.
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700
263Y Ф
FOUR IVORY NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912),
late 18th to late 19th century
The first two rats partly hidden in a long skein of tightly coiled rope, therats’ eyes inlaid, unsigned, 12.7cm (5in) wide; the second a group of
numerous shellfish forming a compact composition, unsigned, 5.1cm(2in) high; the third of a tai fish resting on its side with a peony flower
on the top, signed Gyokusai, 5.4cm (2 1/8in) wide; the fourth in theform of three fans carved and pierced with various designs, inscribed
Tamagawa-getsu, 3.8cm (1½n) high. (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

257

260

258

259

261

262

263 (part lot)

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264 (part lot)

265
264Y Ф
EIGHT NETSUKE AND TWO SMALL OKIMONOOF VARIOUS MATERIALS
Edo period (1615-1868) or Meiji era (1868-1912),
early to late 19th century
Comprising: four wood netsuke, the first two pups on a roof-tile,
inscribed Minko with kao; the second a lotus seed pod, unsigned; thethird eleven No and Kyogen masks, unsigned; the fourth a badger
drumming its stomach, inscribed Minko with kao; three late ivory
netsuke: several blind men fighting over a circular base engraved
beneath with Mount Fuji, signed Komei; a tengu walking over a
winged mokugyo (wooden gong), signed Chikusai; and a demon
reclining over an open book, unsigned; and a stag-antler netsuke of a
rat on an abalone, unsigned; the first okimono of the Seven Gods ofGood Fortune aboard the takarabune (Teasure Ship), signed Ichiyusai
Tsuneyuki, 6cm (2 3/8in) wide; the second of the same subject,signed Masatomo, 4.2cm (1 5/8in) high.
The smallest netsuke 3.2cm (1¼in), the largest 4.2cm (1 5/8in). (10).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
76 | BONHAMS

Property from an Austrian Private Collection(Lots 265-271)
265Y Ф
FOUR IVORY FIGURE NETSUKE
Edo period (1615-1868) or Meiji era (1868-1912),
18th to late 19th century
The first of Hotei seated in his large sack, unsigned, 4.5cm (1¾in)
wide; the second a rakan seated on a rock, talking with a small boy,unsigned, 4.2cm (1 5/8in) high; the third the boy hero Shiba Onko
releasing his drowning friend from a large jar, signed Sanraku, 4.2cm(15/8in) wide; the fourth a shojo seated on a rock, drinking sake,signed Hakuunsai, 3.5cm (1 3/8in) wide. (4).
£1,000 - 1,200
JPY130,000 - 150,000
US$1,200 - 1,500

266 (part lot)

267 (part lot)

268 (part lot)

266
FIVE WOOD NETSUKE
Edo period (1615-1868), early to mid 19th century
The first a joro (prostitute) accosted by a potential client, signed
Gyokusen Tomochika with kao, 3.5cm (1 3/8in) wide; the second analmost naked man trying to climb onto a gigantic pumpkin, signed
Shoju, 3.8cm (1½in) wide; the third a shojo standing beside a large
sake jar, partly lacquered, unsigned, 4.2cm (1 5/8in) high; the fourth adrunken man seated, holding a sake cup over his face with one handand sake bottle with the other, partly lacquered, unsigned, 4.2cm(1 5/8in) wide; the fifth a small boy seated, holding a demon mask,signed Issai, 3.8cm (1½in) wide. (5).
£1,000 - 1,200
JPY130,000 - 150,000
US$1,200 - 1,500

267
FIVE WOOD FIGURE NETSUKE
Edo period (1615-1868), early to mid 19th century
The first of Hotei seated smiling and holding a tama (jewel) to one side,unsigned, 5.4cm (2 1/8in) wide; the second Shoki standing with one
foot on a captured oni (demon), unsigned, 4.8cm (1 7/8in) high; thethird a beggar attempting to lift his distended scrotum, signed Gyokkei,
3.8cm (1½in) wide; the fourth two boys playing around Fukurokuju,
one seated on his tall head,unsigned, 4.2cm (1 5/8in) high; the fifth aboy with a small feline on a base, unsigned, 5cm (2in) high. (5).
£1,000 - 1,200
JPY130,000 - 150,000
US$1,200 - 1,500

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269
268Y Ф
FOUR WOOD NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), mid to late 19th century
The first a man seated on a Buddhist pagoda
and playing a tsuzumi (hand drum), unsigned,
5.4cm (2 1/8in) wide; the second a pilgrim
bowing low beside a large stone lantern,signed Masatomo, 5.7cm (2¼in) high; thethird a straw basket of shells with details
inlaid in mother of pearl, unsigned, 5.7cm(2¼in) wide; the fourth a scroll painting ofDaruma coming to life, the cord-hole rims
and scroll-runners of ivory, unsigned,
4.5cm (1¾in) high. (4).
£1,000 - 1,200
JPY130,000 - 150,000
US$1,200 - 1,500
Illustrated on page 77.
269Y ФFIVE WOOD NETSUKE
Edo period (1615-1868), mid 19th century
The first a snail emerging from its shelland bending back to form a compact
composition, unsigned, 3.8cm (1½in) wide;
the second a monk seated beside a large
mokugyo (wooden gong), his head of ivory,
signed Masayama, 5.4cm (2 1/8in) wide; thethird a dancer posturing, wearing an ivory
usobuki (fibber) mask, signed Hozan, 4.2cm(1 5/8in) high; the fourth of a skeleton beatinga mokugyo, unsigned, 4.8cm (1 7/8in) high;the fifth a sage seated on an ox on a base,unsigned, 4.5cm (1¾in) high. (5).
£1,000 - 1,200
JPY130,000 - 150,000
US$1,200 - 1,500

270Y Ф
SIX IVORY FIGURE NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), mid to late 19th century
The first Okame being propositioned bya diminutive oni (demon), signed Shunko,
4.5cm (1¾in) high; the second Fukurokuju
showing a Daruma doll to a small boy, signed
Masatoshi, 4.2cm (1 5/8in) wide; the third
Jurojin with a deer at his side, signed Kosen
to, 3.8cm (1½in) high; the fourth a small
boy seated on an ox and playing a flute,unsigned, 3.8cm (1½in) high; the fifth a small
boy seated, playing a flute, signed Shigyoku,
3.5cm (1 3/8in) high; the sixth a Dutchmanstanding, holding a fan and baton, unsigned,
7.6cm (3in) high. (6).
£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900
271Y Ф
FOUR LATE IVORY FIGURE NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), mid-late 19th century
The first Daikoku throwing beans to excorcise
demons, signed Komin, 4.2cm (1 5/8in) high;the second the Rokkasen (Six Immortal Poets)standing or seated in various attitudes, signed
Issen, 4.5cm (1¾in) wide; the third of okimono
type, a monkey riding a bucking horse whilea girl stands at the side, signed Shin[..] to,
5.1cm (2in) high; the fourth of Shoki standing
over a kneeling captured oni (demon), signed
Kigyoku, 3.5cm (1 3/8in) high. (4).
£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900

Other Properties
272Y Ф
THREE WOOD FIGURE NETSUKEAND SIX IVORY NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), 18th to late 19th century
The first wood netsuke of Yamauba carrying
Kintoki on her back, the young naked boy
holding a wild boar by one leg, the somewhat
worn wood bearing a good patina, signed
Toman, 7cm (2¾in) high; the second
Fukurokuju seated, holding a crane and reishi
sceptre, the wood somewhat worn and wellpatinated, unsigned, 5.7cm (2¼in) high; thethird of a nightwatchman holding a lantern
and an umbrella, unsigned, 7.6cm (3in) high;the first ivory netsuke of a recumbent Chinese
gentleman, unsigned, 7cm (2¾in) wide;
the second of a fox seated in human attire,
unsigned, 4.2cm (1 5/8in) high; the third aboy seated with a dog at his side, unsigned,
3.8cm (1½in) wide; the fourth a drunken
man standing on a base, holding a gourd
flask, unsigned, 3.8cm (1½in) wide; the fifth
a flautist wearing a cloud-decorated robe,
unsigned, 4.8cm (1 7/8in) high; the sixth asnake coiled on the crown of a human skull,
unsigned, 5.4cm (2 1/8in) high. (9).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

270 (part lot)271

272 (part lot)
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273
273Y Ф
FOUR EARLY IVORY FIGURE NETSUKE
Edo period (1615-1868), 18th century
The first Shoki with an angry expression
standing on one foot, one hand held aloft
holding his broad sword with the other,
unsigned, 10.8cm (4¼in) high; the seconda sage standing on one foot, crying out andwith a broad hat on his back, unsigned,
7.3cm (2 7/8in) high; the third a sage holding
a small monkey on his shoulder, unsigned,
8.3cm (3¼in) high; the fourth Hotei smilingand holding his large sack on his back,unsigned, 6cm (2 3/8in) high. (4).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
YФ

274
A LARGE IVORY NETSUKE OF KAN’U
Edo period (1615-1868), 18th century
The Chinese general Guan Yu standing in adignified attitude, facing ahead with a sternexpression, holding his long beard with one
hand and his naginata (polearm) with theother, his robe engraved with clouds andformal designs, the ivory bearing a good
patina; unsigned, 15.5cm (6 1/8in) high.
£4,000 - 5,000
JPY510,000 - 640,000
US$5,000 - 6,200

80 | BONHAMS

Provenance: Mrs Isobel Sharpe collection.
M. T. Hindson collection.
Published: Neil K. Davey, Netsuke: aComprehensive Study Based on the M. T.
Hindson Collection, London, Faber & Faber
Ltd. and Sotheby Parke Bernet Publications,
1974, p.349, no.1050.
For very similar examples, probably by thesame hand, see Joe Earle, Netsuke, Fantasy
and Reality in Japanese Miniature Sculpture,
Boston, MFA Publications, 2001, p.74, no.39;
and Sydney L. Moss Ltd., More Things in
Heaven and Earth: Japanese Netsuke andOjime, London, 2006, pp.28-29, no.5.
The blade of the polearm is missing andappears to have broken off at an early date.

276Y Ф
AN IVORY NETSUKE OF A PUP
By Okakoto, Kyoto, Edo period (1615-1868),
early 19th century
Seated with its head turned down to theleft as it licks one raised forepaw, the legs
drawn in for compactness, one forming thehimotoshi, the slightly worn ivory bearing agood patina, the pupils inlaid; signed in arectangular reserve Okakoto.
3.5cm (1 3/8in) wide.
£4,000 - 5,000
JPY510,000 - 640,000
US$5,000 - 6,200
Published: International Netsuke Society
Journal, vol.26, no.2, Summer 2006, p.54.

275
A TALL IVORY NETSUKE OF A SENNIN
Edo period (1615-1868), early 19th century
The emaciated figure with distended stomach
standing, open-mouthed and facing ahead,holding a gnarled cane with one hand and adrum beater with the other, his small drum
tied at his waist, the stained ivory slightly
worn; unsigned. 12.7cm (5in) high.

277Y Ф
AN IVORY NETSUKE OF HOTEIBy Okakoto of Kyoto, Edo period (16151868), early 19th century
Smiling and facing ahead, supporting a smallboy on his back, his loose robe belted at
the waist, baring his chest and distended
stomach, the well-toned ivory slightly worn;
signed in a rectangular reserve Okakoto.
7cm (2¾in) high.

£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200£850 - 1,200
JPY110,000 - 150,000
US$1,100 - 1,500

YФ

276

274

275

277

278 (part lot)

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279
278Y Ф
FOUR IVORY NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), 19th century
The first of two piebald pups playing, theirlegs intertwined as they roll around, the ivory
well patinated and the pupils inlaid, unsigned,
6cm (2 3/8in) wide; the second of a monkey
seated on and trying to open a large clam,
signed Masatsugu, 3.8cm (1½in) high; thethird of two fish with a small squid and an
abalone, forming a compact composition, thepupils inlaid, unsigned, 5.4cm (2 1/8in) wide;
the fourth a group of vegetables and fruit,
one bean forming the himotoshi, signed Ippo,
3.8cm (1½in) wide. (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Illustrated on page 81.
279Y Ф
THREE IVORY NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), late 18th to late 19th century
The first a large manju carved with a bolddesign of a shishi clambering over a rock,the reverse engraved with a peony, withcentral peg himotoshi, signed Jugyoku withkao, 6.7cm (2 5/8in); the second of a shishirecumbent, its head turned back to the right,
unsigned, 5.1cm (2in) wide; the third an
okimono-style group of an oni (demon) playing
go with a spirit with a monk acting as referee,signed Tomomasa, 6cm (2 3/8in) wide. (3).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

82 | BONHAMS

280Y Ф
THREE IVORY FIGURE NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), mid-19th century
The first of an itinerant foreign musician
standing on one leg, his head raised as hesings to the accompaniment of a biwa, theivory stained, unsigned, 8.2cm (3¼in) high;the second of Kiyohime winding around thebell of the Dojoji while holding the bell-beaterwith one hand, signed Masakazu, 4.8cm(1 7/8in) high; the third of Okame throwing
beans to exorcise an oni (demon) who
hides beneath a large hat at her feet, signed
Hidemasa, 4.8cm (1 7/8in) high. (3).
£900 - 1,000
JPY120,000 - 130,000
US$1,100 - 1,200
281Y Ф
FOUR IVORY FIGURE NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), mid-19th century
The first a nabe kaburi (adulterous woman)standing, facing ahead, holding up the hemof her kimono with one hand and the other
hand raised to her face, three pots heapedon her head, the ivory slightly worn, signed
Homin, 5.1cm (2in) high; the second Darumaof somewhat flattened form, with a hollowed
back, the patriarch scowling from beneathhis cowl and a hossu (fly switch) engraved
at the side, signed Yuko, 3.8cm (1½in) wide;
the third possibly intended for the Chinese
philosopher Roshi (in Chinese Laozi),
standing, leaning on the head of a recumbent
ox on a rectangular base, wearing a longbelted robe with a scythe slung at his waist,
the somewhat worn ivory with a good patina,
unsigned, 4.5cm (1¾in) high; the fourth
Fukurokuju lying on his front, smiling with hisarms raised, imitating a turtle with a carapace
on his back, the ivory stained, signed Yusai,
4.8cm (1 7/8in) high. (4).
£1,200 - 1,800
JPY150,000 - 230,000
US$1,500 - 2,200

For another example of a nabe kaburi see
Neil K. Davey, Netsuke: a Comprehensive
Study Based on the M. T. Hindson Collection,
London, Faber & Faber Ltd. and Sotheby
Parke Bernet Publications, 1974, p.356,
no.1072.
282Y Ф
AN IVORY NETSUKE OF A MONKEY
By Masatami, Meiji era (1868-1912),
late 19th/early 20th century
Wearing a coat, crying out and seated on an
upturned bowl and holding one tentacle of an
octopus which is trapped beneath, the ivory
lightly stained and the pupils inlaid; signed
Masatami. 3.5cm (1 3/8in) wide.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
283Y
A WALRUS IVORY MANJU NETSUKE
By a member of the Kikugawa family, Edo
period (1615-1868), mid 19th century
Carved and pierced with a tennin (Buddhist
angel) holding a lotus bud and turning as
she flies through swirling clouds, her scarf
billowing about her; signed on an inlaid gilt
metal tablet Kikugawa with kao.
4.8cm (1 7/8in) diam.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
284
A STAG ANTLER MANJU NETSUKE
By Ozaki Kokusai (1835-1894), Shiba, Tokyo,
Edo period (1615-1868) or Meiji era (18681912), mid-late 19th century
Of shallow form, carved and pierced with adragon and a medallion amid swirling clouds,
one cord hole ringed with dark horn;
signed Koku.
4.8cm (1 7/8in) diam.
£1,500 - 1,800
JPY190,000 - 230,000
US$1,900 - 2,200

280

281

282

283

284
FINE JAPANESE ART| 83

285 *AN EBONY NETSUKE
OF A RECUMBENT OX
Iwami school, Edo period (1615-1868),
early 19th century
Lying with its head turned to the left, its legs
drawn in for compactness, a rope halter
passing over its back, the wood slightly worn,the eyes inlaid; signed illegibly in arectangular reserve.
4.8cm (1 7/8in) wide.
£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900
Provenance: Estate of Mr and Mrs Gottfried
Henrich Crone, Amsterdam. The 187-piececollection (mainly wood and ivory) inherited in
1962 by a Canadian relative who has retained
it in its entirety to the present.
Exhibited: The G. H. Crone Collection,
Vancouver Art Gallery, November
22-December 31, 1967, no.15.
For similar examples by Seiyodo Tomiharu
and an unknown maker of Iwami, see Joe
Earle, The Robert S. Huthart Collection of
Iwami Netsuke, Hong kong, 2000, vol.1,
p.81, nos.62-64.
286 *A WOOD NETSUKEOF PLAYING MONKEYS
Edo period (1615-1868) or Meiji era(1868-1912), 19th century
Two adult monkeys rolling over each otherwhile an offspring clambers over them,forming a compact composition in lightly
stained wood, one leg forming the himotoshi
and the eyes of pale translucent hornwith dark pupils; unsigned.
4.2cm (1 5/8in) wide.
£2,000 - 2,500
JPY260,000 - 320,000
US$2,500 - 3,100
Provenance: Estate of Mr and Mrs Gottfried
Henrich Crone, Amsterdam. The 187-piececollection (mainly wood and ivory) inherited in
1962 by a Canadian relative who has retained
it in its entirety to the present.
Exhibited: The G. H. Crone Collection,
Vancouver Art Gallery, November
22-December 31, 1967, no.142. A very
similar example by Masachika is illustrated
in Marie-Thérèse Coullery and Martin S.
Newstead, The Baur Collection: Netsuke(Selected Pieces), Geneva, 1977, p.335,
no.c1045.

287 *A WOOD NETSUKE
OF A MONKEY AND TURTLE
By Masatami, Edo period (1615-1868) or
Meiji era (1868-1912), late 19th century
The monkey seated on the shell of the large
turtle and tying a line around it while thereptile head emerges and turns back with anangry expression, the wood lightly stained
and the eyes inlaid; signed in a rectangularreserve Masatami.
5.1cm (2in) high.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
Provenance: Estate of Mr and Mrs Gottfried
Henrich Crone, Amsterdam. The 187-piececollection (mainly wood and ivory) inherited in
1962 by a Canadian relative who has retained
it in its entirety to the present.
Exhibited: The G. H. Crone Collection,
Vancouver Art Gallery, November
22-December 31, 1967, no.85.
288 *A WOOD NETSUKE OF A MONKEY
By Masakatsu, Ise, Edo period (1615-1868)
or Meiji era (1868-1912),
mid-late 19th century
Seated, leaning forward and gnawing a biwa
fruit while holding a bunch of fruit with its
feet, one leg forming the himotoshi; signed
Masakatsu with a kao.
3.2cm (1¼in) wide.
£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900
Provenance: Estate of Mr and Mrs Gottfried
Henrich Crone, Amsterdam. The 187-piececollection (mainly wood and ivory) inherited in
1962 by a Canadian relative who has retained
it in its entirety to the present.
Exhibited: The G. H. Crone Collection,
Vancouver Art Gallery, November
22-December 31, 1967, no.80.
289 *A WOOD NETSUKE OF MINOGAME(HAIRY-TAILED TURTLES)
Edo period (1615-1868) or Meiji era(1868-1912), late 19th century
A large turtle, its long hairy-tail trailing out
and curled at its back while six young turtles
clamber around on its carapace, the woodslightly worn; signed illegibly.
4.8cm (1 7/8in) wide.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

84 | BONHAMS

Provenance: Estate of Mr and Mrs Gottfried
Henrich Crone, Amsterdam. The 187-piececollection (mainly wood and ivory) inherited in
1962 by a Canadian relative who has retained
it in its entirety to the present.
Exhibited: The G. H. Crone Collection,
Vancouver Art Gallery, November
22-December 31, 1967, no.34.
290 *A WOOD NETSUKE OF A RAT
By Ichimin, Nagoya, Edo period (1615-1868),
19th century
Seated, its body curled to the right over alarge leaf as it clutches a bunch of berries
beneath both forepaws, the slightly worn
wood with a good patina, the eyes inlaid;signed Ichimin to.
3.2cm (1¼in) wide.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Provenance: Estate of Mr and Mrs Gottfried
Henrich Crone, Amsterdam. The 187-piececollection (mainly wood and ivory) inherited in
1962 by a Canadian relative who has retained
it in its entirety to the present.
Exhibited: The G. H. Crone Collection,
Vancouver Art Gallery, November
22-December 31, 1967, no.73.
291 *A FINE WOOD NETSUKE OF A HORSE
By Ikkan (1817-1893), Nagoya, Edo period(1615-1868) or Meiji era (1868-1912),
19th century
Lying with its head turned back to the left
and its legs drawn in to form a compact
composition, one hind leg forming thehimotoshi, the wood slightly worn andbearing a good patina, the eyes of paletranslucent horn with dark pupils; signed inan oval reserve Ikkan.
4.2cm (1 5/8in) wide.
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000
Provenance: Estate of Mr and Mrs Gottfried
Henrich Crone, Amsterdam. The 187-piececollection (mainly wood and ivory) inherited in
1962 by a Canadian relative who has retained
it in its entirety to the present.
Exhibited: The G. H. Crone Collection,
Vancouver Art Gallery, November
22-December 31, 1967, no.74. For afigure of a goat in a very similar attitude by
Ikkan, see Raymond Bushell, Collectors’
Netsuke, New York and Tokyo, 1971, p.72,
no.102, also illustrated in Hollis Goodall with
contributors, The Raymond and Frances
Bushell Collection: A Legacy at the Los
Angeles County Museum of Art, Chicago,
2003, p.244, no.322.

285

287

290

286

288

289

291

FINE JAPANESE ART

| 85

292
A WOOD NETSUKE
OF SHOKI WITH TWO ONI
Edo period (1615-1868) or Meiji era(1868-1912), mid 19th century
The demon-queller standing, holding his
broad sword with one hand and the brim of
his large hat with the other, two oni (demons)
sprawling on the top, trying not to be noticed;
inscribed in a sunken reserve Tametaka.
7.3cm (2 7/8in) high.

295
A WOOD NETSUKE OF A RAT
By Ikkan (1817-1893), Nagoya, Edo period(1615-1868) or Meiji era (1868-1912),
19th century
Seated, looking up to the right and holding
a shogi counter beneath one forepaw, its tailcurling round to form the himotoshi, its eyes
inlaid, the slightly worn wood bearing a good
patina; signed in an oval reserve Ikkan.
4.5cm (1¾in) wide.

£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000298
A WOOD NETSUKE OF A TIGER
By Masanao, Yamada, Ise province,
Edo period (1615-1868), 19th century
Seated with its head turned to the left as itsnarls, its tail passing forward around the left
flank, forming the himotoshi, the pupils inlaid;signed Masanao.
3.8cm (1½n) wide.

293
A WOOD NETSUKE OF A SHOJO
By Tadatoshi, Nagoya, Edo period(1615-1868), 19th century
Lying asleep in a typical attitude, her headresting on her right hand and her long hair
trailing over her robe which is carved withclouds and diaper patterns, the wood bearing
a good patina; signed with ukibori charactersin a rectangular reserve Tadatoshi.
4.8cm (1 7/8in) wide.

Provenance: Rotman collection, purchasedfrom Espace 4, Paris.

£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
294
A WOOD NETSUKE OF A SHOJO
By Tadatoshi, Nagoya, Edo period(1615-1868), 19th century
Lying aleeep, her head resting on her righthand and her long hair trailing over her robe
which is carved and engraved with diaperand swirling cloud designs; signed withukibori characters in a rectangularreserve Tadatoshi.
4.8cm (1 7/8in) wide.

Published: Robert Fleischel, ‘The French
Connection’, International Netsuke Society
Journal, vol.24, no.3, fall 2004, p.6, no.129.
296
A WOOD NETSUKE OF A MONKEY
By Kano Tomokazu, Gifu, Edo period(1615-1868), early 19th century
Seated, leaning forward and eating aberry, while holding a bunch of berries andleaves over its legs, one of which forms thehimotoshi, the wood with very little wear
and a good patina, the eyes inlaid with paletranslucent horn and dark pupils; signed
in an oval reserve Tomokazu.
3.8cm (1½in) high.
£5,000 - 6,000
JPY640,000 - 770,000
US$6,200 - 7,400
Provenance: Eskenazi Ltd., London, 1991.
Purchased at Sotheby’s, London, 9 June
2004, lot 1180.

£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

Published: Netsuke Kenkyukai Study Journal,
vol.11, fall 1991, Eskenazi advertisement,
pp.57 and 64, no.26.

An unusually small and neat version ofthis popular subject, which was carved
by most of the 19th-century netsuke
makers from Nagoya.

297
A WOOD NETSUKE OF A MONKEY
By Tanaka Minko, Tsu (1735-1816),
late 18th/early 19th century
Seated, leaning forward with wide open
mouth, its gnarled hands resting overits crossed feet and one leg forming thehimotoshi, the slightly worn wood bearing agood patina; signed Minko.
3.2cm (1¼in) wide.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
Provenance: A. E. Tebbutt collection.
M. T. Hindson collection.

Published: Neil K. Davey, Netsuke: aComprehensive Study Based on the M. T.
Hindson Collection, London, Faber & Faber
Ltd. and Sotheby Parke Bernet Publications,
1974, p.210, no.643.

Provenance: Michael Bernstein, New York.
299
THREE WOOD NETSUKE
Edo period (1615-1868) or Meiji era(1868-1912), 19th century
The first a mask of a divinity, possibly
intended for Kongara Doji, with open mouthand curly hair, the face with traces of gesso,
the hair lacquered brown and the inside of themouth and reverse lacquered red, unsigned,
6.6cm (2 5/8in) high; the second Ashinaga
and Tenaga, the former standing behind his
companion who grasps his friend’s face withboth hands, signed Shoko, 6.7cm (2 5/8in)
high; the third Hotei standing with a small boy
at his side, partly lacquered red and green,
signed Tomohisa, 5.1cm (2in) high. (3).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Provenance: The first, M. T. Hindson collection.
Published: the first, Neil K. Davey, Netsuke:a Comprehensive Study Based on the M. T.
Hindson Collection, London, Faber & Faber
Ltd. and Sotheby Parke Bernet Publications,
1974, p.413, no.1222.
Illustrated on page 88.
300
A WOOD NETSUKE OF A SNAKE
By Arima Tomonobu, Nagoya, Edo period(1615-1868), 19th century
Winding through a pumpkin, its body arched
and its head raised at the top, its open mouthwith protruding tongue and painted red,
the pupils inlaid; signed in a rectangularreserve Tomonobu.
3.8cm (1½n) wide.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
Illustrated on page 88.

86 | BONHAMS

293

292
294

295

297

296

298

FINE JAPANESE ART

| 87

300

291

299
301

302

303 (part lot)
301
A WOOD NETSUKE OF TURTLES
By Gekko, Meiji era (1868-1912), late 19th/early 20th century
A large turtle making a base for four smaller reptiles to clamber upon,
forming a pyramid, the pupils inlaid; signed in a sunken oval reserve
Gekko. 6.7cm (2 5/8in) high.
£1,000 - 1,200
JPY130,000 - 150,000
US$1,200 - 1,500
302
A WOOD NETSUKE OF A MACAQUE
By Bishu (born 1943), Tokyo, Showa era (1926-1989), 20th century
The hairy ape seated, its head turned to the right as it holds its raisedknee with both hands, the wood dark stained and the eyes inlaid,signed Ganryu Bishu with seal; with tomobako inscribed Kanpu (coldwind) and signed Ganryu Bishu with seal.
4.5cm (1¾in) high. (2).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
88 | BONHAMS

303
15 OJIME OF VARIOUS MATERIALS
Edo period (1615-1868) or Meiji era (1868-1912), 19th century
Comprising: a gilt-metal swimming bird, unsigned; a silver figure in
the form of a badger priest, unsigned; a bronze tube inlaid with asimulated European coin, signed in a silver reserve Ju; one copper
flattened-form Daruma, signed in a rectangular reserve Kikugawa;
another two of copper in the form of Daruma, each unsigned; oneof brass, in the form of an openwork double gourd applied with apaulownia mon; three of cast metal, all on a leather string, each
unsigned; one of cloisonné enamel with a design of dragons in clouds,
unsigned; two of mottled glass, unsigned; and one of octagonal form,
inlaid in Somada style, unsigned; the last of copper decorated insilver and gilt takazogan with a pomegranate branch, unsigned.
The smallest 1.2cm (½in), the largest 3.7cm (1½in). (15).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

(part lot)

304TP
A COLLECTION OF REFERENCE BOOKS, GALLERY AND
AUCTION CATALOGUES ON NETSUKE AND JAPANESE ART
Comprising the following: Atchley, Virginia and Davey, Neil,
The Virginia Atchley Collection of Japanese Miniature Arts, Chicago
and Los Angeles, Art Media Resources, 2006; Bandini, Rosemary,
Shishi and Other Netsuke, The Collection of Harriet Szechenyi,
London, 1999; Bushell, Raymond, Netsuke Familiar and Unfamiliar,
New York and Tokyo, Weatherhill,3rd printing, 1999; Bushell, Raymond,
The Netsuke Handbook of Ueda Reikichi, Rutland, Vermont and Tokyo,
Japan, Charles E. Tuttle company, 4th printing, 1967; Cohen, George,
In Search of Netsuke & Inro, Birmingham, England, Jacey Group ofCompanies, 1974; Cseh, Eva, Netsuke: Japanese Miniature Carvings,
Collections of the Ferenc Hopp Museum of Eastern Asiatic Arts, vol.1,
Budapest, 2001; Earle, Joe, Netsuke: Fantasy and Reality in Japanese
Miniature Sculpture, Boston, MFA Publications, 2001; Goodall, Hollis
with contributors, The Raymond and Frances Bushell Collectionof Netsuke: A Legacy at the Los Angeles County Museum of Art,
Chicago, Art Media Resources, 2003; Harris, Victor, The Hull Grundy
Collection of Netsuke in the British Museum, London, British Museum
Publications, 1987; Hurtig, Bernard, Masterpieces of Netsuke Art, NewYork and Tokyo, Weatherhill, 3rd printing, 1980; Hutt, Julia, Japanese
Netsuke, London, V & A Publications, 2003; Jahss, Melvin and Betty
Inro and other Miniature Forms of Japanese Lacquer Art, Rutland,
Vermont & Tokyo, Japan, Charles E. Tuttle Company, 1971; JirkaSchmitz, Patricia, Netsuke: Japanischer Gurtelschmuck des 18. bis 20.
Jahrhunderts, Dusseldorf, Kunstmuseum, 1994; Jonas, F. M, Netsuke,
Rutland, Vermont and Tokyo, Japan, Charles E. Tuttle Company, 6th
printing, 1971; Kinsey, Miriam, Living Masters of Netsuke, Tokyo, NewYork and San Francisco, Kodansha International Ltd., 1984; Moss,
Hugh, Chinese Snuff Bottles of the Silica or Quartz Group, London,
Bibelot Publishers, Ltd., 1971; O’Brien, Mary Louise, Netsuke:
A Guide for Collectors, Rutland, Vermont and Tokyo, Japan, Charles
E. Tuttle Company, 4th printing, 1971; Uspensky, M. V, Netsuke fromthe Hermitage Collection (in Russian), Saint Petersburg, Slavia Art
Books, 1994; Welch, Matthew and Chappell, Sharen, Netsuke:
The Japanese Art of Miniature Carving, Minneapolis, The Minneapolis

Institute of Art, 1999; Barry Davies Oriental Art (London) catalogues:
The Netsuke Collection of W. G. Bosshard, 1994; 100 Selected Pieces
from the Netsuke Collection of Scott Meredith, 1995; The Robert S.
Huthart Collection of Non-Iwami Netsuke, 1998; Eskenazi Ltd (London)
catalogues: Japanese Netsuke, Ojime and Inro from the Dawson
Collection, 1997; Japanese Netsuke, Ojime and Inro from a Private
European Collection, 1998; Sydney L .Moss Ltd. (London) catalogues:
Eccentrics in Netsuke, 1982; Japanese Netsuke: Serious Art, 1989;
Zodiac Beasts and Distant Cousins, 1993; Meetings with RemarkableNetsuke, 1996; Outside the Box, 2004; More Things in Heaven andEarth, 2006; Sagemonoya (Tokyo) catalogues: Netsuke, The French
Connection, 2000 (3 copies); Sagemono and Netsuke Selection,
publishing date unknown; Netsuke and Sagemono Omnibus, 2008;
The 2009 New York Sans Ivoire Netsuke and Sagemono, 2009;
Ninety-nine Netsuke and One Inro, 2004; Bonhams London auction
catalogues: The Edward Wrangham Collection of Japanese Art,
Part I 9 November 2010 (2 copies); The Edward Wrangham Collection ofJapanese Art, Part II , May 10 2011 (2 copies); The Harriet Szechenyi
Collection of Japanese Art, 8 November 2011; Fine Japanese Art,
12 May 2011; Sotheby’s London auction catalogues: The Betty Jahss
Collection of Netsuke, Part II, 14 November 1991; The Carlo MonzinoCollection of Netsuke, Inro and Lacquer, 21 June, 1995; The Carlo
Monzino Collection of Japanese Sword Fittings and Swords, 18 June
1996; Christie’s London auction catalogues: The Frederick Mayer
Collection of Chinese Art, 24-25 June 1974; The Hartman Collection ofJapanese Metalwork, 20 June and 1 July 1976; Netsuke and Lacquerfrom the Japanese Department of Eskenazi Ltd., 17 November 1999;
a binder containing journals of The International Netsuke
Collectors’ Society (vol.1, nos. 1-4, vol.2, nos.1-4, vol.3,
nos.1-4, vol.4, nos.1-3, plus Journal index). (50).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
FINE JAPANESE ART

| 89

305

OTHER INRO AND SAGEMONO
Various Properties305
A RARE BLACK-LACQUER SINGLE-CASE INRO
WITH INTERIOR TRAY
By Okumura, Edo period (1615-1868), late 17th/early 18th century
Of wide form, bearing a dense roiro ground, lacquered and inlaid witha continuous design of kogai (metal hairpins) decorated with various
subjects in gold takamaki-e with details of inlaid shell, one inscribed
Goto Yu (jo), the interior of black lacquer with kinji edges and the riser
with a geometrical design in chinkinbori, signed Okumura with kao;with a stag antler Asakusa-school ojime of a stylised shishi, unsigned.
8cm (3 1/8in) wide.
£4,000 - 5,000
JPY510,000 - 640,000
US$5,000 - 6,200

90 | BONHAMS

Provenance: Michael and Hiroko Dean collection, purchased from
Barry Davies Oriental Art, London, 2002.
Edward Wrangham collection, no.2192.
Published: Michael and Hiroko Dean, Japanese Lacquer, An
Exposition, Kyoto, 1984, no.101.
E. A. Wrangham, The Index of Inro Artists, Harehope,
Northumberland, 1995, p.205, Okumura.
Barry Davies Oriental Art, Japanese Lacquer, Nanbokucho to Zeshin,
London, 2002, no.88.
It has been suggested that the inro is by Okumura Shirobei Yoshiyuki,
a member of the Okumura-family-of-lacquerers working in the
Genroku era (1688-1704). The design is of a Muromachi-period(1333-1573), kogai by Yujo (1435-1490), one of the earliest membersof the Goto family of sword-fitting makers, from whom there are no
known signed works but many attested by later members of theschool.

306

306
A RARE GOLD-LACQUER SINGLE-CASE INRO
Edo period (1615-1868), 18th century
Of almost circular form, bearing a nashiji ground embellishedwith hirame, lacquered and inlaid with circular panels of flowers
in takamaki-e, one bloom inlaid with shell, the top forming abottle with metal stopper and the external cord runners appliedwith bone, the interior of black lacquer, the riser and the baseof the upper compartment of gold lacquer, decorated with amass of chrysanthemums in hiramaki-e; unsigned.
7.6cm (3in) high.
£750 - 850
JPY96,000 - 110,000
US$930 - 1,100
Provenance: purchased from Fairclough Arms,
London, 1970.
Edward Wrangham collection, no.1012.
307
A RARE SILVERED-IRON SINGLE-CASE
INRO OR TONKOTSU
By Umetada Narinobu, Edo period (1615-1868),
late 18th/early 19th century
Of upright form, with hinged cover, bearing a textured
matt-silver-washed ground, inlaid in relief with a dragon inclouds, bearing traces of gilding; signed Umetada Narinobu
with kao; with a silver and shakudo cylindrical ojime, unsigned.
7cm (2¾in) high.
£600 - 700
JPY77,000 - 90,000
US$740 - 870
Provenance: G. F. Marden collection.
Purchased from Spink & Son Ltd., 1966.
Edward Wrangham collection, no.756.
Published: E. A. Wrangham, The Index of Inro Artists,
Harehope, Northumberland, 1995, p.199, Narinobu,
Umetada, left.

307

For the maker, see Robert Haynes, The Index of Japanese
Sword Fittings and Associated Artists, Ellwangen, Germany,
2001, no.H06941.
FINE JAPANESE ART

| 91

308

309

308
A BLACK-LACQUER THREE-CASE INRO
By Koami Tadamitsu, Edo period (1615-1868), late 18th century
Of wide form, the roiro ground embellished with muranashiji, lacquered
and inlaid with a continuous design of a quiver of arrows with twobows and a battledore, the latter decorated with a Heian-period
court scene, in gold and coloured takamaki-e, the arrow flights ofinlaid shell and the battledore with details of gold foil, the interior of
nashiji with kinji edges, signed Koami Tadamitsu saku; with ablack-lacquered ojime.
7cm (2¾in) high.

309Y
A SMALL GREY-LACQUER THREE-CASE INRO
By Ogawa Haritsu (Ritsuo, 1663-1747), Edo period (1615-1868),
18th century
Bearing a shibuichi-nuri ishime ground, simulating metal, with twopanels, one with a design of formalised flying butterflies and birds
in relief over abstract patterns of gold hiramaki-e, the reverse with aten-character poem in archaic script, the top and base with stylised
dragons in relief and the interior of matt shibuichi-nuri lacquer, signedwith two seals, Kan and Naoyuki; with a coral ojime.
6cm (2 3/8in) high.

£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500£3,000 - 3,500
JPY380,000 - 450,000
US$3,700 - 4,300

Provenance: purchased from Spink & Son Ltd., London, 1984.
Edward Wrangham collection, no.1710.

Provenance: Raymond Bushell collection,purchased at Sotheby’s, London, 1966.
Edward Wrangham collection, no.670.

92 | BONHAMS

Published: Sydney L. Moss, Eccentrics in Netsuke, London,
1982, no.11.

310
A BLACK-LACQUER FIVE-CASE INRO
By Koma Bunsai, Edo period (1615-1868), 19th century
Of upright form, bearing a rich roiro ground, lacquered with scatteredmaru-ni-onigashiwa mon of the Makino family of Tanabe among
scattered formal flowerheads, in gold takamaki-e and zogan-nuri,
the interior of nashiji with kinji edges, signed in a red gourd-shaped
reserve Bunsai; with a gilt metal and enamel filigree ojime, unsigned.
9.5cm (3¾in) high.
£20,000 - 25,000
JPY2,600,000 - 3,200,000
US$25,000 - 31,000
Provenance: Edward Gilbertson collection.
R. A. Pfungst collection.
Demaree and Dorothy Bess collection.
Charles A. Greenfield collection, no.205.
Purchased from Eskenazi Ltd., London, 1990.
Edward Wrangham collection, no.2001.

Published: Harold P. Stern, The Magnificent Three, Lacquer, Netsuke
and Tsuba, Japan Society, New York, 1972, inro no.30.
A. J. Pekarick, Japanese Lacquer, 1600-1900, The Metropolitan
Museum of Art, New York, 1980, no.45.
E. A. Wrangham, The Index of Inro Artists, Harehope,
Northumberland, 1995, p.32, Bunsai, Koma, right.
Exhibited: The Burlington Fine Arts Club, London, 1894,
case XIII, no.31A.
Japan Society Gallery, New York, 1972.
The Metropolitan Museum of Art, New York, 1980.
The technique used on the smaller mon is zogan-nuri, which simulates
cloisonné enamel by applying fine gold or silver wire.

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311
A BLACK-LACQUER FOUR-CASE INRO
The interior by Kahei, Edo period (1615-1868), 19th century
Of upright form, bearing a rich roiro ground, lacquered with a girl and ayouth leaping to catch fireflies while on the reverse a young boy walks
away with a cage of the insects, all in gold and coloured togidashi
maki-e, the interior of nashiji; signed Kahei with kao; with a silver
globular ojime cast with autumn flowers, signed Chikauji.
9.8cm (3 7/8in) high.
£8,000 - 10,000
JPY1,000,000 - 1,300,000
US$9,900 - 12,000

94 | BONHAMS

Provenance: purchased from Antiques by Constantine,
London, 1981.
Edward Wrangham collection, no.1538.
Exhibited: ‘Treasures of the North’, Whitworth Art Gallery, Manchester;and Christie’s, London, 2000, p.235, no.21.
The mysterious lacquerer known as Kahei was probably a master ofnashiji inro interiors and is believed to have lived around 1780-1820.
The exterior work on the present example appears to be more recent
and may have been re-lacquered on an older inro.
The design is taken from a painting titled Natsu odori (Summer Dance)by Takebe Socho (1761-1814), a haiku poet and painter sometimes
nicknamed ‘the Edo Buson’, illustrated in Genshoku Ukiyo-e Daihyakka
Jiten Henshu Iinkai, ed., Genshoku ukiyo-e daihyakka jiten (Encyclopediaof Ukiyo-e in Full Colour), Tokyo, 1982, vol.2, p.65, pl.318.

312
A FINE GOLD-LACQUER FOUR-CASE INRO
By Kitamura Tatsuo (Unryuan, born 1952), Showa (1926-1989)
or Heisei era (1989-), late 20th century
Of upright form, bearing a kinji ground and lacquered on one sidewith an entertainer blowing soap bubbles, the reverse with a young
woman reaching up to catch the bubbles before they burst, ingold and coloured togidashi maki-e, the interior of nashiji with kinjiedges; signed Unryuan with a kao, with a gold-lacquer ojime, with atomobako, the exterior of the lid inscribed Bijin shabon zu maki-e inro
(Inro with a beauty blowing bubbles), the interior of the lid
signed Unryuan saku (made by Unryuan) with seal Unryuan;
a green-lacquered storage box inscribed on-inro, and anouter card storage box.
9.5cm (3¾in) high. (4).

Provenance: purchased from Barry Davies Oriental Art, 1993.
Edward Wrangham collection, no.2048.
Published: E. A. Wrangham, The Index of Inro Artists, Harehope,
Northumberland, 1995, p.319, Unryuan, Kitamura, second from left.
Unryuan (birth name Kitamura Tatsuo) is among the finest of the moreconservative lacquerers working in Japan today. Born in 1952 in the
traditional lacquering centre of Wajima, Ishikawa Prefecture, he set
up his own studio in 1985. His work, which has a unique delicacy
and level of detail, has been widely exhibited around the world and isincluded in several important public collections, including the Victoria
and Albert Museum. For further bibliographical details of the artist, seeVictoria and Albert Museum, Unryuan: Master of Traditional Japanese
Lacquer Ware, London, 2002.

£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000

FINE JAPANESE ART| 95

Provenance: Louis Gonse collection, sold in Paris, 1924.
Purchased at Hotel Drouot, Paris, 1971.
Edward Wrangham collection, no.1089.

313
A DARK-GREY-LACQUER FOUR-CASE INRO
By Shibata Zeshin (1807-1891), Meiji era (1868-1912), 19th century
Of rounded rectangular form, bearing a dark grey ishime ground,lacquered in low relief with a continuous scene of thatched huts and a torii
among cryptomeria trees, the interior of rich nashiji; signed Toshinaga onaratte saku i (made in the style of Toshinaga) Zeshin; with a red-lacquer
ojime carved in relief with a village by a lake, unsigned.
8.5cm (3 3/8in) high.
£15,000 - 20,000
JPY1,900,000 - 2,600,000
US$19,000 - 25,000
96 | BONHAMS

Published: E. A. Wrangham, ‘Zeshin and the Art of Metal
Imitation’, Netsuke Kenkyukai Study Journal, vol.12, no.1,
spring 1992, p.31, fig.2 (incorrectly captioned).
E. A. Wrangham, The Index of Inro Artists, 1995, p.346,
Zeshin, Shibata, right column, top row, right.
Exhibited: Ashmolean Museum, Oxford, 1972, no.62.
Zeshin was often influenced by metalworkers, particularly
the sword-fitting makers of the Nara school, and made anumber of other inro and other lacquer objects simulating
old iron. The present design is based on one by Nara
Toshinaga of Edo (1667-1736).

314
AN UNUSUAL TWO-CASE BASKETRY INRO
Edo period (1615-1868)
or Meiji era (1868-1912), 19th century
Of lenticular form, the sides woven with thin stripsof bamboo in a masu-ajiro-ami (herringbone)pattern with distinct areas of light-and-dark-stained
bamboo, the compartments separated by goldlacquered dividers, the plain wood interiors eachwith a separate tray, unsigned; with an en-suite
bamboo-woven netsuke in the shape of a clamshell with plant decorations lacquered in gold
hiramaki-e, unsigned.
9.5cm (3¾in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Provenance: Robert de Belder collection.
Purchased from Sotheby’s, London, 1984.
Edward Wrangham collection, no.1674.

315
A COCONUT-SHELL KINCHAKU (PURSE)
By Masahide of Nagasaki, Edo period(1615-1868) or Meiji era(1868-1912), 19th century
Of tapering oval form, engraved with wild
chrysanthemums growing from rocks with a seal
Sensai and a seven-character line of Chinese verse‘Yellow flowers bloom beneath the eastern fence’,
inspired by the Chinese poet Tao Yuanming, thereverse of stencilled deerskin; signed Kiyo Masahide
kizamu with kao.
9.5cm x 8.8cm (3¾in x 3½in).

314£600 - 700
JPY77,000 - 90,000
US$740 - 870
Provenance: purchased from
Sydney L. Moss, Ltd., London, 1985.
Edward Wrangham collection, no.1797.
Kiyo is an elegant name for the town of Nagasaki.

315
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316
A BLACK-LACQUER THREE-CASE INRO
By Ogawa Haritsu (Ritsuo, 1663–1747), Edo period(1615–1868), 1744
Modelled in imitation of an old ink cake, with three interlocking casesand cover, of rectangular cross-section and profile with integrated
cord-runners, the surface finished in a mixture of charcoal dust andblack lacquer, the rims with simulated chips and the six sides all withsimulated cracks incised in fine kebori, sometimes revealing the basebeneath, carved in relief on one side with Daruma crossing the Yangzi
River on a reed and on the reverse with a 20-character inscription inarchaic Chinese script (see below); copper, shakudo, and gilt ojime in
the form of masks of shojo (drunken sprite) and hyottoko (funny man);the interior gold fundame lacquer, signed and dated on the base inincised characters Enkyo gannen natsu Ukanshi Haritsu kore o tsukuru(Made by Ukanshi Haritsu in the summer of the first yearof Enkyō [=1744]) with inlaid green pottery seal Kan;
with a fitted wooden storage box.
9.5cm × 6.7cm × 2.5cm (3¾in × 2 5/8in × 1in). (2).

Heinz Kress notes that although both the Chinese printed books
drawn on by Haritsu for lacquer ink-cake designs, Fangshi mopu
(1588) and Chengshi moyuan (1606), include images of Daruma,
transmitter of Zen to East Asia, crossing the Yangzi River (incorrectly
said to be ‘on his journey to Japan’), the depiction of Daruma’s robes
is closer to that found in Fangshi mopu. In both books the Chinese
inscription, traditionally known as the ‘Ode to Daruma and the True
Nature is written in standard script and placed in a circular borderaround Daruma so that the 20 characters can be read in either
direction taking any character as the starting point, making a total of
40 different poems in all. This literary multivalency was well known inJapan, as can be seen from an illustrated book by the satirist Santo
Kyoden (1761–1816) where the Fangshi mopu image is reproduced
over an explanation in Chinese of the poem’s semi-magical properties(Santo Kyoden, 1808). Haritsu, however, arranged the characters infour columns, effectively limiting the number of readings to two: one invertical columns and the other in horizontal lines:£10,000 - 15,000
JPY1,300,000 - 1,900,000
US$12,000 - 19,000

空離終至
忘性常淨
照情玅明
寂縁極圓
身理真始

Provenance: Kumasaku Tomita collection.
Raymond Bushell collection, purchased at Sotheby’s, London,
18 June 1997, lot no. 117.

These two orderings of the text might be very freely translated asfollows:

Published: Raymond Bushell, The Inro Handbook: Studies of Netsuke,
Inro, and Lacquer, New York and Tokyo, Weatherhill, 1979, pp.151–2,
no.113.
Heinz Kress, ‘Inro Motifs: Part II’, Netsuke Kenkyukai Study Journal,
14/3 (fall 1994), p.36, fig.28.

Vertical:His extreme purity and brightness is perfect from the beginning
Until the end he is a constant wonder and the ultimate truth
Taking leave of selfish feelings he connects with the universal orderHis mind is void, forgetting all, enlightening his solitary body.
Horizontal:
Until the end he is unattached and void
His purity is constant, he forgets his selfish nature
Bright wondrousness illuminates his feelings
His perfect completeness arises from seclusion
From the beginning, ultimate truth orders his being.

98 | BONHAMSFINE JAPANESE ART

| 99

317

318
317
A BROAD GOLD-LACQUER TWO-CASE INRO
Edo period (1615-1868), 17th century
The square rounded rectangular rubbed kinji body decorated in gold
hiramaki-e and inlaid in shell with a falcon perched on a tethered stand on
one side and a fishing rod leaning against a creel on the reverse, the cord
runners and interior of nashiji, unsigned; with a lacquered ojime.
7.3cm (2 2/8in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
318
A SMALL INLAID GOLD-LACQUER FOUR-CASE INRO
Edo period (1615-1868), 18th century
The rounded rectangular body lacquered in gold and slight-coloured
takamaki-e and inlaid in Rinpa style in pewter and shell with acontinuous design of a flock of cranes standing or foraging forfood on the seashore on a ground of gently lapping waves,the interior of plain black lacquer; unsigned.
7.6cm (3in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

319

100 | BONHAMS

319
AN INLAID BLACK-LACQUER THREE-CASE INRO
By Chohei, Edo period (1615-1868), late 18th/early 19th century
Of wide form, bearing a rich roiro ground, lacquered and inlaid with abutterfly alighting on a bean plant, in gold takamaki-e with inlaid shell,
green-stained bone and pewter, the interior of red lacquer with gold
fundame risers; signed on a red-lacquer tablet Chohei.
7.3cm (2 7/8in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

320

321

320
A GOLD-LACQUER SAYA FOUR-CASE INRO
By Koami Choko, Edo period (1615-1868), 19th century
The divided saya (sheath) lacquered with a formal asanoha design ingold lacquer and grey lacquer simulating metal, at each corner of thecord runners, the inner four-case inro of subdued nashiji, lacquered on
one side with two literati playing go watched by another, the reverse
with a painter watched by a nobleman, in gold and slight-coloured
takamaki-e, the interior of dense hirame; signed Koami Choko saku.
7.8cm (3 1/8in) high.
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700

321
A GOLD-LACQUER FOUR-CASE INRO
By Koma Kansai, Edo period (1615-1868), 19th century
Bearing a rich kinji ground, lacquered with a pigeon perched on aflowering branch which continues on the reverse, in gold, grey andblack takamaki-e with red highlights, part of the plumage inlaid withshell and the interior of nashiji, signed Kansai saku with red kao; with
an iron globular ojime inlaid with two flying cranes in high relief silver.
8.5cm (3 3/8in) high.
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700

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322

322
TWO LACQUER INRO
The first by Kakosai Shozan and the second
attributed to Kajikawa Hidenobu, Edo period(1615-1868), 19th century
The first of three cases, of dark brown lacquer,
simulating old iron, lacquered with formal
medallions in gold and coloured hiramaki-e withshell highlights, the interior of nashiji, signed
Shozan, 7.3cm (2 7/8in) high, with a bone ojime
and wood manju netsuke signed Kameizan witha kao; the second four cases, lacquered on the
kinji ground with the Shichifukujin (Seven Gods ofGood Fortune), in gold and coloured takamaki-e,
the interior of gold lacquer, signed Eitoku sha(after a painting by Eitoku), Kajikawa with seal
Hinode, 6.7cm (2 5/8in) high. (2).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
The seal Hinode 日出 on the second inro is seen
on an inro by Kajikawa Hidenobu 梶川秀信,
see E. A. Wrangham, The Index of Inro Artists,
Alnwick, Northumberland, Harehope Publications,
1995, pp.71-72.
323
102 | BONHAMS

324 (part lot)
323Y Ф
TWO GOLD-LACQUER INRO
Edo period (1615-1868), 19th century
Each of four cases, the first decorated intakamaki-e on the kinji ground with five rats
gnawing at ferns and scattered nuts andplaying with a feather, the interior of nashiji,signed Ipposai, 8.9cm (3½in) high, with aniron ojime inlaid with gold formal designs; thesecond decorated on the kinji ground withbears in a landscape, unsigned, 9.2cm (35/8in) high, with ivory ojime, carved in relief
with a dragon, signed Gyokuzan. (2).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

324Y Ф
SIX INRO AND TWO TONKOTSU OF
VARIOUS MATERIALS
Edo period (1615-1868) and Meiji era(1868-1912), 17th to late 19th century
The first of negoro lacquer, decorated withswallows flying over suspended tied sheavesof rice, in gold takamaki-e, unsigned, 7.8cm(3 1/8in) high, with a wood manju netsuke
carved in relief with a camellia; the second
brown-lacquer decorated with a dragonamid clouds in gold takamaki-e, unsigned,
8.2cm (3¼in) high, with an ivory netsuke ofa small boy; the third of carved red lacquer,
carved in Chinese style with sages in agarden, unsigned, 9.2cm (3 5/8in) high,with an ivory ojime and a lacquered woodand ivory netsuke of a shishi with a ball; twoivory inro, the first carved in low relief with arakan holding an overflowing alms bowl, thereverse with a dragon among clouds, signed
Yoshihisa, 8.9cm (3½in) high, with an ivory
ojime carved with a dragon and an ivory
netsuke of Ebisu signed Gyokuzan;

the second carved in low relief with Hotei andboys, unsigned, 7.3cm (2 7/8in) high, with anivory ojime and an ivory netsuke of Daikoku
signed Masayuki; a wood two-case inro
carved in high relief with a lobster, unsigned,
7.6cm (3in) wide, with an iron mask ojime
and a wood netsuke of a pilgrim beating a
mokugyo (wooden gong); a straight-sided
wood tonkotsu inlaid in boxwood and ebony
with a flying bird and two quail, the eyes
inlaid, unsigned, 9.2cm (3 5/8in) wide, witha nut ojime and a wood netsuke of a badger
beating a mokugyo; and another in the formof Daruma stretching, unsigned, 10.5cm(4 1/8in) high, with a wooden pipe caseen suite. (9).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

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326
A STAG ANTLER PIPE CASE
Asakusa, Edo period (1615-1868) or Meiji era (1868-1912),
mid 19th century
Of muso-zutsu form, finely carved and pierced with a large baku
among swirling clouds, the cord attachment formed by a turtle,
unsigned; with a brocade box.
21.5cm (8½in) long. (2).
325 (part lot)325 *TWO EARLY GOLD-LACQUER INRO
AND TWO UNUSUALLY LARGE AND RARE SAGEMONO
Edo period (1615-1868), 17th/18th century
The first of three cases, wide with a rubbed gold-lacquer ground,decorated with three deer in gold takamaki-e, the interior of nashiji,
unsigned, with a coloured glass ojime, 7.3cm (3 1/8in) high; thesecond of eight cases, upright rectangular with a gold-lacquer ground,decorated with four scenes of sages conversing, accompanied by theirattendants, unsigned, with a carnelian ojime, 10.5cm (4 1/8in) high;the third of wood with two cases, carved in relief with a dragon among
swirling clouds, the interior of red lacquer, unsigned, 13.3cm (5 3/8in)
high; the fourth of wide and rectangular form, the black-lacquer groundwith flowering trees in gold hiramaki-e, each side with a gold-lacquered
panel with a design taken from European leather, opening to reveal
shelves, bearing eight red-lacquered boxes, inscribed in gold lacquerwith the types of medication, a miniature abacus and a small brush,with a carnelian ojime, unsigned, 13.3cm (5 3/8in) high. (4).

£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
327
A STAG ANTLER OKIMONO
By Ryusai, Edo period (1615-1868) mid 19th century
In the form of several growths of reishi fungus with curled,
overlapping stalks and with heads of differing size, possibly for
use as an outsized sashi netsuke; signed Ryusai with seal Koku.
22.9cm (9in) long.
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700

Provenance: the first and second inro, Maurice Champoud collection.

328Y Ф
A LACQUERED IVORY YATATE(PORTABLE BRUSH AND INK CONTAINER)
By Komin, Meiji era (1868-1912), late 19th/early century
Of regular form, the slightly curved stem containing an ivory
handled brush and with oval ink bowl lacquered in gold and brownlacquer with scattered formal chrysanthemum blooms, signed
Komin; with a porcelain ojime and a small walnut netsuke of a
mokugyo (wooden gong).
19cm (7½in) high. (2).

104 | BONHAMS£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900£850 - 1,250
JPY110,000 - 160,000
US$1,100 - 1,500

(signature)

326

327

(signature)

328

FINE JAPANESE ART| 105

106 | BONHAMSARMOUR
Various Properties
329 *TPAN IYOZANE DO-MARU GUSOKU ARMOUR
Edo period (1615-1868) or Meiji era (1868-1912),
mid-late 19th century
A russet iron 32-plate sujibachi kabuto (helmet), inscribed
inside with the invocation Tensho kotai jingu, Hachiman
daibosatsu and Kasuga daimyojin, mounted with an elaborate
tehen kanamono in shakudo, silver and gilded copperand a shakudo kasa jirushi-no-kan, on the front a goldlacquer mukade (centipede) maedate; the ko manju jikoro of
kiritsuke kozane; a good quality leather ryubu menpo (mask)with yadome, the two-lame yodarekake (throat guard) of
honkozane; the kosode covered with textured leather andmounted with shakudo kanamono, odagote; the do (chest
armour) of iyozane in iron covered with textured leather andunusually made in do-maru style, mounted in shakudo withdomed rivets and kanamono, on the back a kasa jirushi-nokan, the fukurin inlaid with gold, leather kusazuri of iyozane apouch beneath the centre one; leather kawara haidate; andshino suneate; black-lacquered overall and laced in red, theshikoro and yodarekake in kebiki style, sode and kusazuri inyosekake sugake odoshi, mounted on a rich gold and silver
brocade; together with an armour box, wood stand and asimple saihai (baton).
The armour box 40cm x 40cm x 53cm
(14¾in x 14¾in x 20 7/8in).
£7,000 - 8,000
JPY900,000 - 1,000,000
US$8,700 - 9,900
FINE JAPANESE ART| 107

330 TPA COMPOSITE ARMOUR
Edo period (1615-1868), 19th century
An eight-plate iron sujibachi kabuto (helmet)
lacquered with a brown heavy-textured finish, thesuji lacquered gold, a black-lacquer Hineno-jikoro
laced with blue kebiki odoshi, on the top of thehelmet a feather zudate and on the front a gilt andsilvered disc maedate; a black-lacquer hanbo (halfmask) with a three-lame yodarekake (throat guard);
Bishamon-gote with brown-lacquer itamono kosodeattached to the upper arms and russet-iron shinoon the forearm; a nimai nuinobe do (chest armour)
black lacquered and laced in blue, on the back a
gattari and ukezutsu for a sashimono, the kusazuri
with a brown textured finish, leather karuta haidate
black lacquered; with a mon (crest) in gold andblack lacquered shino suneate; together
with an armour box.
The armour box 38cm x 38cm x 50cm
(15in x 15in x 19¾in).
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000

108 | BONHAMS

331 *TPA GOMAI OKEGAWA-DO
TOSEI GUSOKU ARMOUR
Edo period (1615-1868), 18th/19th century
The 16-plate russet iron hoshibachi kabuto (helmet)
of low rounded form in the ancient style, mountedwith a four-stage copper tehen kanamono and ashakudo kasajirushi-no-kan, on the front a kuwagatadai with gilt kuwagata engraved with feathers anda gilt-wood dragon-head maedate; the three-lameblack-lacquer ko manju-jikoro in iron laced in green
and white yosekake sugake odoshi, the two upper
plates turned back to form fukigaeshi partiallyleather covered with a hoshi-mon, fukurin andkiku-no-byo in shakudo; a black-lacquer iron ressai
menpo (mask) with hair moustache and gilt teeth,
three-lame yodarekake (throat guard) of iron kiritsuke
kozane; chusode of leather kiritsuke kozane with gilt
kanamono and gold-lacquer odagote; the gomai
okegawa yokohagido (chest armour) having alternate
plates black lacquered and covered in gold leaf, themuneita, wakiita, oshitsuke-no-ita and hinged gyoyocovered with shobu gawa, mounted in gilt copper,
on the back an agemaki-no-kan and a gattari andmachiuke for a sashimono, detachable kusazuri ofleather kiritsuke kozane; gold-lacquer ikada haidate
and shino suneate; black lacquered overall withkebiki style lacing in green with bands of white on thesode and do; with an armour box and wood stand.
The armour box 50cm x 50cm x 60cm
(19¾in x 19¾in x 23 5/8in).
£7,000 - 8,000
JPY900,000 - 1,000,000
US$8,700 - 9,900
FINE JAPANESE ART| 109

332 *TPA WARABE GUSOKU ARMOUR
Edo period (1615-1868)
or Meiji era (1868-1912), late 19th century
A 20-plate russet iron hoshibachi kabuto (helmet)
mounted in happo-jiro style with gilt plates on foursides, a three-stage tehen kanamono and on thefront a kuwagata dai and kuwagata; the four-lamekomanju-jikoro having the upper lames turned backto form fukigaeshi; russet-iron menpo (mask) with afour-lame yodarekake (throat guard); a nimai tachi do(chest armour) with sendan and kyubi-no-ita to thefront and an agemaki on the back; osode, tsutsugote, hodo haidate and shino suneate; lacquered
overall in gold and laced in red kebiki odoshi;
with an armour box and wood stand.
The armour box 36cm x 33cm x 53cm
(14 1/8in x 13in x 20¾in).
£2,000 - 2,500
JPY260,000 - 320,000
US$2,500 - 3,100

110 | BONHAMS

333 *TPA COMPOSITE ARMOUR
The helmet by Norihisa,
Edo period (1615-1868), 19th century
A 62-plate russet iron koboshi kabuto (helmet)
signed Soshu no ju Norihisa, fitted with a five-lameHineno jikoro, the mabisashi black lacquered, on
the front a maedate of a black-lacquer gunbaiuchiwa (gourd-shaped war fan) with a gold-lacquer
mitsudomoe mon, a red-lacquer signature on
the back partly erased; a good black-lacquer
ryubu menpo (mask) with a three-lame itamono
yodarekake (throat guard); a good-quality, heavy
nuinobe do (chest armour) of iron sane black
lacquered, the kusazuri of leather honkozane edged
with bear fur, shakudo kanamono to the muneita
and two hishi mon, on the back an agemaki-nokan and kanamono in shakudo and a gattari andukezutsu for a sashimono; black-lacquer shino gote;good-quality chusode of iron kiritsuke kozane black
lacquered, shakudo fukurin and kanamono with gilt
backing; black-lacquer iron shino haidate; and shinosuneate; laced overall in blue odoshi;
with an armour box and wood stand.
The armour box 40cm x 40cm x 56cm
(15¾in x 15¾in x 22in).
£6,500 - 7,500
JPY830,000 - 960,000
US$8,100 - 9,300
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334

335

MASK AND HELMETS
Various Properties
334
A MENPO (MASK)
By Myochin Munesada, Edo period (1615-1868),
late 18th/early 19th century
A russet-iron mask with detachable nose, the three-lame blacklacquer iron itamono-yodarekake laced with dark blue sugake-odoshi
and the reverse lacquered red; signed Myochin ki no Munesada saku.
£2,000 - 2,500
JPY260,000 - 320,000
US$2,500 - 3,100335
A KAWARI KABUTO (HELMET)
Edo period (1615-1868), late 17th century
A very heavy conventional zunari kabuto with the addition of a broad
flat plate rising up from the front pierced at the top with a hoshi-mon,the surface heavily coated with sabinuri (lacquer finish imitating rustediron), a five-lame iron itamono Hineno-jikoro gold lacquered and lacedwith kebiki takuboku-ito, small gold-lacquer fukigaeshi; unsigned. (2).
£5,000 - 7,000
JPY640,000 - 900,000
US$6,200 - 8,700
Accompanied by a NKBKHK ninteisho certificate,
dated November 2015.

112 | BONHAMS336
A ZUNARI KABUTO (HELMET)
Edo period (1615-1868), 18th/19th century
The russet-iron hachi (bowl) constructed as a complicated variationof traditional zunari kabuto, the front plate deeply embossed witheyebrows and wrinkles, the sides with a single blossom, attached to
the front a mabisashi embossed with clouds, from the back of thebowl are five parallel plates which extend over the top as far as thefront plate and are held together by large zaboshi, similar rivets secure
the side plates to the front and form a line securing the koshimaki tothe bowl, a five-lame iron itamono Hineno jikoro laced with dark blue
sugake odoshi; unsigned.
£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000

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(reverse)

337

337
A SUJIBACHI KABUTO (HELMET)
Edo period (1615-1868), 18th century
The 62-plate bowl black lacquered, the suji
picked out in gold, mounted at the top with amixed-metal tehen kanamono and on eitherside wakidate of black-lacquer wood buffalo
horns and on the front a maedate of a giltmetal ring, a Hineno-jikoro of kiritsuke kozane
lacquered black, the upper and lower plates
covered with stenciled leather and lacedin blue kebiki odoshi, the fukigaeshi black
lacquered with a gold-lacquer omodaka mon;unsigned. (5).

338
A ZUNARI KABUTO (HELMET)
Edo period (1615-1868), 18th century
The iron hachi (bowl) russet lacquered andof conventional three-plate construction withthe addition of a large concave mabisashi
extending well forward and to the sides andedged with an engraved and gilded fukurin,
on the front an oni (demon) maedate, an iron
ichimanju-jikoro covered in black-lacquered
leather and laced in blue kebiki odoshi, thelower edge trimmed with bear fur, small
fukigaeshi leather covered with engraved gilt
fukurin and a fan mon (crest); unsigned. (3).

339
A PAIR OF INLAID IRON ABUMI(STIRRUPS)
By Nobukuni, Edo period (1615-1868),
19th century
Of typical form and decorated withconfronting cranes among stylised wisps
of clouds worked in silver flat-relief inlay,
the underside decorated with a criss-crosspattern, the interior of red-lacquer; signedon the uprights in silver flat relief inlay
Kashu no ju Nobukuni saku
(made by Nobukuni of Kaga Province).
Each approximately, 28cm (11in) long. (2).

£5,000 - 7,000
JPY640,000 - 900,000
US$6,200 - 8,700£4,000 - 6,000
JPY510,000 - 770,000
US$5,000 - 7,400£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

Accompanied by a NKBKHK ninteishocertificate, dated November 2015.

Accompanied by a NKBKHK ninteishocertificate, dated November 2015.

114 | BONHAMS

(reverse)

338

339

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(340 - signature)(341 - signature)

SWORDS
Various Properties
340
A SHINTO KATANA BLADE
Attributed to Kunishige, Edo period (1615-1868), 17th/18th century
Of shinogi-zukuri, shallow koshi-zori form, with tsukiage boshi, suguba
of nie, itame-hada, the ubu nakago with one mekugi-ana, signed
Bichu no kuni Mizuta no ju Kunishige saku; in Showa era(1926-1989) military mounts.
The blade 61.5cm (24¼in) long.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
Provenance: Sir Frank Bowden, Bt. collection.
341
A SHINTO KATANA BLADE
Attributed to Bishu Osafune Sukesada, Edo period (1615-1868)
Of shinogi-zukuri shallow koshi-zori form, with chu-kissaki, chojimidare-ha of nioi and nie, itame-hada, the ubu nakago with one
mekugi-ana, signed Bishu Osafune Sukesada saku; in shirazaya.
The blade 70.3cm (27¾in) long.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
Provenance: Sir Frank Bowden, Bt. collection.

340

341
116 | BONHAMS

(signature)342
A SHINTO KATANA BLADE WITH MOUNTS
The blade by Bishu Osafune Sukesada, Edo period (1615-1868),
17th century
The blade of shinogi-zukuri, chu-gissaki form, irregular notareha ofnioi with nie, koshiba and midare-komi boshi, tight mokume-hada, thekiri-jiri nakago with two mekugi-ana, signed Bishu Osafune Sukesada
saku, in shirazaya; koshira-e (mounting): the saya of polished black
lacquer with horizontal bands, the iron Mito tsuba carved and inlaid
with a cricket and wild flowers; the Mino-Goto fuchi-gashira withcrickets and a profusion of wild flowers; with two storage bags.
The blade 66.7cm (26¼in) long; total length 107cm (42 1/8in). (5).
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000
Accompanied by a NBTHK hozon certificate, dated May 2014.

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(343 - signatures)

343(344 - signature)

343

343 *
A MOUNTED TANTO WITH ASSOCIATED FITTINGS
The blade by Motohira, Edo period (1615-1868), 19th century
The blade of hira-zukuri form, gunome-ha and indistinct hada; theubu nakago signed and dated Satsuyo-shi Motohira, Bunka gan
hachigatsubi (a day in the eighth month of 1804); koshira-e (mounting):
the saya of black ishime lacquer; the shibuichi tsuba engraved withpetals; the shibuichi fuchi-gashira carved with breaking waves; theshakudo kozuka carved and inlaid with a pine tree by the corner of ahouse, signed Tomomitsu; the gilt-metal and shakudo menuki each in
the form of a hare and foliage; with a brocade bag.
The blade 27.3cm (10¾in) long, total length 43.8cm (17¼in). (2).
£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900
118 | BONHAMS

344

344

344 *
A MOUNTED TANTO
Edo period (1615-1868), 19th century
The blade of hira-zukuri form, suguba and masame hada, the ubu
nakago signed Yoshi[...] saku; koshira-e (mounting): the saya ofpolished black lacquer; the attached tsuba, fuchi-gashira, kurikata andkojiri of hammered gilt metal; the shakudo nanako kozuka carved andinlaid with grain, signed Yoshioka Inabanosuke; the shakudo and giltmetal menuki in the form of grain; with a brocade bag.
The blade 24.5cm (9 5/8in) long; total length 40.5cm (16in). (2).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

(346 - signatures)
345
A SHINTO MOUNTED KATANA
Edo period (1615-1868), 18th century
The blade of shinogi-zukuri, shallow koshi-zori form,
with chu-gissaki boshi, notare-midare-ha of nie,
indistinct hamon, the ubu nakago with two mekugiana, unsigned; koshira-e (mounting): the saya of
aogai-nashiji, the Shoami tsuba pierced with a carp
amid breaking waves, partly gilt, the Mino-Goto fuchigashira with a chrysanthemum-on-water design,
shakudo and gilt metal menuki of tiger and leopard,the Higo kojiri with clouds of gold nunome.
The blade 69.4cm (27½in) long;
total length 102cm (40 1/8in).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
Provenance: Sir Frank Bowden, Bt. collection.

346
A SHIN-SHINTO KATANA BLADE
After Masamune, Edo period (1615-1868),
19th century
Of shinogi-zukuri, koshi-zori form, with chu-gissaki
boshi, notare-midare-ha of nioi and nie with notarekomi, itame hada, the ubu nakago with one mekugiana, inscribed Masamune, in black lacquer saya andtsuka, inscribed Masamune; with storage bag.
The blade 67.8cm (26¾in) long. (2).
£2,000 - 2,500
JPY260,000 - 320,000
US$2,500 - 3,100
Provenance: Sir Frank Bowden, Bt. collection.

345

346
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348

347

349

347
A COPPER TSUBA
Probably Shoami school, Edo period (1615-1868),
late 18th/early 19th century
In the form of a seated horse, its head turned back, its legs drawn inand its pupils inlaid with gilt metal, unsigned; with wood storage box.
7.6cm (3in). (2).

348
A SHAKUDO SUKASHI (PIERCED) TSUBA
By Masatoshi of Edo (Musashi Province), Edo period (1615-1868),
late 18th/early 19th century
Oval, pierced and carved partially in the round with chrysanthemum
stems, leaves and blossoms embellished with dewdrops in gold,
the rim with rinzu (textile-weave) designs in gold nunome (overlay),pierced with openings for kozuka (scabbard-mounted knife) andkogai (scabbard-mounted skewer), signed Bushu no ju Masatoshi(Masatoshi of Musashi Province).
7.1cm (2¾in).

£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

SWORD FITTINGS AND A MATCHLOCK GUN
Various Properties

Provenance: a private collection.
Arie Vos collection, Switzerland.

120 | BONHAMS

The artist would appear to be one of those listed by Robert Haynes,
The Index of Japanese Sword Fittings and Associated Artists,
Ellwangen, Germany, Nihon Art Publishers, Germany, 2001, nos.
H04592, H04593, H04594 although the lack of a kao (cursive)monogram precludes a more precise identification. For an example
in iron and gold with cherry-blossom design, of comparable style andquality (also without a kao), see Museum of Fine Arts, Boston, inv. no.
11.11734, signed Kofu no ju Masatoshi (Masatoshi of Edo) and dated
by the museum to the late 18th or early 19th century (http://www.
mfa.org/collections/object/tsuba-with-design-of-flowering-cherrytree-11500); compare also Christie’s, London, 12 May 2010, lot 424,
an iron tsuba with pierced decoration of clematis, signed Bushu no ju
Masatsoshi like the present lot.

349 *TWO METAL OBIDOME (SASH CLIPS)
One by Katsura Mitsuharu (1871-1962),
the other by Toyokawa Mitsunaga II (1850-1923),
Taisho era (1912-1926), dated 1924
The first of shibuichi, in the form of two overlapping fans, one engraved
and partially inlaid with a chrysanthemum bloom and foliage, the otherengraved with a butterfly, backed with a silver plate, signed Mitsuharu
to, 5.1cm (2in); the second of copper and gilt metal, in the form ofa tasselled uri (gourd) and chasen (tea whisk) with details of inlaid
shakudo, signed Mitsunaga, 4.5cm (1¾in); with wood tomobako
storage box inscribed Senkoku kanagu junikagetsu no uchi junigatsu
no zu (Engraved metal fitting with picture for the twelfth month, one of
the twelve months), the inside of the lid inscribed Chasen-uri no zu,
uraza Taisho kinoe-ne shoka Tohoku Sanjin Mitsuharu koku (Backplatewith picture of a tea-whisk-vendor, engraved by Tohoku Sanjin
Mitsuharu, January 1924) with seal Mitsuharu; andShichijusan-o Mitsunaga (Mitsunaga, aged 73) with two seals,
one reading Hakuzanshi. (3).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Born in Edo to a ranking samurai family, Toyokawa Mitsunaga II studied
metalwork techniques from Mitsunaga I (1831–1880), took his master’sname at the early age of 19, and after the deaths of Kanō Natsuo andUnno Shōmin went on to become one of the most skilful metalwork
artists of the late Meiji and Taisho eras.
Katsura Mitsuharu was a pupil of Mitsunaga. A prolific exhibitor andprizewinner at domestic and international expositions, he received
a large number of important public commissions including asilver-wedding gift from the city of Tokyo to the Meiji Emperor (acollaboration with Mitsunaga, 1894) and a shibuichi flower vasecommissioned by Dutch residents of Japan to congratulate Princess
Juliana of the Netherlands on her engagement in 1936.

350
A MATCHLOCK GUN
Edo period (1615-1868), probably 1812
The round barrel decorated in silver and copper nunome with afigure seated on a rocky ledge beneath a waterfall beneath two bonjicharacters and above an aoi mon, signed Enami Yoritsugu saku
and inscribed Niju-yon (twenty-four); the wood stock with brassmechanism and fittings, inscribed Mizunoe saru (year of the monkey)
yonsen hyakunanajuyonban (no.4174), Hiroshima [...] .
Total length 104.2cm (41in).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

350
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PAINTED HANGING SCROLLS
Various Properties
351
KITAGAWA TSUKIMARO(ACTIVE CIRCA 1804-1836)
CHINESE BEAUTY
Edo period (1615-1868), circa 1820
Kakejiku (hanging scroll), ink and colours on silk
mounted in silk, depicting a Chinese beauty dressedin silk robes, her bouffant hairstyle decorated witha ho-o-bird hairpiece made from peacock feathers,
standing in an alluring pose on the roots of aJapanese spice bush (Lindera obtusiloba),
a basket at her side; signed Bokutei Tsukimaro
hitsu with two seals.
Overall 160cm x 42cm (63in x 16½in);image 85cm x 28½cm (33½in x 11¼in).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Some of the media used to paint this intriguing
fusion of ukiyo-e with elements of both Chineseand Western figure painting might have been madeusing non-traditional binders in combination withconventional mineral and plant pigments. Drawing
on European (accessed by way of copperplate
reproductions) and Chinese (learned from Chinese
painters who visited Nagasaki) conventions of
portraiture, Tsukimaro, the shadowy best pupil of
Utamaro, presents us with a luxuriously dressed
figure (with perhaps a hint of the legendary
imperial concubine Yang Guikei) playing elegantly,
Marie-Antoinette style, at the economic activity ofgathering medicinal leaves.

122 | BONHAMS

352
NAKAYAMA OSAYOSHI(ALSO CALLED YOFUKU, 1808-1849)
FALCON ON A SNOWY PLUM BRANCH
Edo period (1615-1868), second quarterof the 19th century
Kakejiku (hanging scroll), ink and colour on silk
mounted in silk, depicting a falcon perched on asnowy plum branch, its beak open and its headturned to its right, falling snow suggested by aspattering of white pigment (probably calcified
crushed shell); signed Osayoshi with two seals,
the first reading Nakayama Osayoshi.
Overall 178cm x 60cm (70in x 23 5/8in);image 102cm x 45cm (40 1/8in x 17¾in).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
Provenance: Michael Tomkinson collection
Published: Michael Tomkinson, A JapaneseCollection, London, George Allen, 1898, vol. 2,
no.183, p.122, not illustrated but described:‘Hawk on snow-covered plum tree in blossom,
signed Yofuku, seals Nakata Yofuku and Shiko’Nakayama Osayoshi (also known as Yofuku) wasborn in Edo and apprenticed to the Kobikicho Kano
artist Seisen’in Yasunobu, later becoming official
painter to the Tokushima fief in Awa Province andspecializing in bird-and-flower subjects. The great
Meiji-era painter Hashimoto Gaho (1835-1908) is
said to have once expressed the opinion that had
he lived longer Osayoshi’s achievement would havesurpassed his own.

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353
KO SUKOKU (1730-1804)
AN EARLY AND RARE PAINTING OF THE HELL COURTESAN
Edo period (1615-1868), late 18th century
Kakejiku (hanging scroll), ink and colours on silk mounted in silk,
depicting Jigoku Dayu (the Hell Courtesan), her robe bearing detailed
images of the flames and other torments of the underworld including
Enma-O (Judge of Hell) with a magic mirror that reveals sinners’ pastmisdeeds, the lining of her left sleeve revealing a contrasting sceneof Amida Buddha descending to receive the souls of the dead into
paradise; she wears an elaborate hair decoration and stands by ascreen with a bamboo painting which bears the artist’s signature
Ko Sukoku and seal Rakushisai.
Overall 182cm x 61cm (71¾in x 24in);image 99cm x 42½cm (39in x 16¾in).
£6,000 - 8,000
JPY770,000 - 1,000,000
US$7,400 - 9,900
Provenance: Michael Tomkinson collection
Published: Michael Tomkinson, A Japanese Collection, London,
George Allen, 1898, vol.2, no.176, p.122, not illustrated but described:‘Courtesan attired in robe with design of Tortures of Hell,signed Ko Sukoku (1730-1804)’This is an unusually early example of a painting subject which became
increasingly popular during the second half of the Edo period. The
Hell Courtesan is linked in popular lore with the eccentric Zen priest
and poet Ikkyu (1394-1481), whose religious training is supposed tohave included ten years spent in the brothels of the thriving new port
city of Sakai (now part of Osaka). According to an urban myth thatwas current by the seventeenth century, Ikkyu took special care ofa courtesan named Jigoku (Hell) who worked in a Sakai brothel andhelped her to attain enlightenment. Other famous versions of the Hell
Courtesan theme include one by Haruki Nanmei (1795-1878, British
Museum), another by Seikei (late 19th century, Metropolitan Museumof Art), a painting by Kawanabe Kyosai (1831-1889) purchased in2010 by the Museum of Fine Arts, Boston, and a particularly large
example dated circa 1850 by Utagawa Kuniyoshi (1797-1861) in
the John C. Weber collection, New York, exhibited at the Asian Art
Museum of San Francisco in 2015 (see Julia Meech, ‘Kuniyoshi andthe Hell Courtesan’, in Laura W. Allen, Seduction: Japan’s Floating
World, The John C. Weber Collection, San Francisco, Asian Art
Museum, 2015, pp.45-93).
The highly regarded artist Ko Sukoku, pupil of a pupil of the great
mid-Edo painter Hanabusa Itcho, is best known for historical subjects
including both hanging scrolls and a panel painting in the Sensoji
Temple, Asakusa, Tokyo, depicting Minamoto no Yorimasa subduing
the monstrous nue bird. No other depictions of the Hell Courtesan
by Sukoku are known, but a collaborative scroll showing Enma-O(Judge of Hell), painted by Sukoku, looking down at a mirror depicting
a courtesan and attendant, painted by Katsukawa Shunsho (17261792), was recently published online (http://yajifun.tumblr.com/
post/2070188906/enma-the-lord-of-the-realm-of-death-and-his).

124 | BONHAMSThe Hell Courtesan by Haruki Nanmei (1795-1878)
Registration number: 1881,1210, 0.697-698, Asia Department© The Trustees of the British Museum.

FINE JAPANESE ART| 125

354Y ФMANNER OF MORI SOSEN
Meiji era (1868-1912), late 19th/early 20th century
Kakejiku (vertical hanging scroll), ink and slight colour on silk, depicting
a pair of deer standing, a stag looking at left and a hind looking at
the other side, beside stalks of shida (fern), inscribed Sosen with two
seals; with wood storage box.
Overall 205cm x 99.5cm (80¾in x 39¼in),image 117.5cm x 78cm (46 3/8in x 30¾in). (2).
£1,000 - 1,200
JPY130,000 - 150,000
US$1,200 - 1,500

126 | BONHAMS

355

355Y ФKONOSHIMA OKOKU (1877-1938)
Taisho (1912-1926) or Showa (1926-1989) era, early 20th century
Kakejiku (vertical hanging scroll), ink and slight colour on silk, depicting
a stag walking over a snow-covered field, looking towards the left,
signed Okoku with seal Okoku; with wood tomobako storage box
titled Setchu koroku (Lone deer in the snow), the inside of the lid
signed Okoku dai (titled by Okoku) with seal Okoku.
Overall 204cm x 61.5cm (80¼in x 24¼in),image 115cm x 42cm (45¼in x 16½in). (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

356

356
AFTER SOGA SHOHAKU (1730-1781)
Edo period (1615-1868), 18th/19th century
Kakejiku (vertical hanging scroll), ink on paper, mounted in silk,
depicting the Chinese poet and statesman Soshiki (in Chinese,
Su Shi, 1036-1101) in exile, holding his staff and with his giant straw
hat on his back, inscribed Shohaku ga (Painted by Shohaku) with seal
Soga Shohaku; with wood storage box inscribed Shohaku hitsu tsue
jinbutsu (Figure holding a staff, painted by Shohaku).
Overall 210cm x 65cm (82 5/8in x 25 5/8in);image 120cm x 51cm (47¼in x 20in). (2).
£600 - 800
JPY77,000 - 100,000
US$740 - 990

Konoshima Okoku entered the studio of Imao Keinen (1854-1924)
in 1893 and started to exhibit his work in 1897. Sometimes praisedas ‘the last of the Shijo painters’, he excelled in the depiction ofanimals, landscapes and bird-and-flower subjects and was a frequent
prizewinner at the national Bunten and its successors.
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357Y ФYAMAMOTO SHOUN (1870-1965)
Meiji (1868-1912), Taisho (1912-1926)
or Showa (1926-1989) era, early/mid 20th century
Kakejiku (vertical hanging scroll), ink, colour and gold
on silk, depicting Shoki the Demon-Queller, standing
with his sword drawn, looking at a demon escaping
on a cloud at the upper left, signed Shoun hitsu with
two seals, one reading Shoun; with wood storagebox (partially damaged).
Overall 212cm x 69cm (83½in x 27 1/8in),image 128cm x 50cm (50 3/8in x 19 5/8in). (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
A native of Kochi Prefecture, Yamamoto Shounstarted his artistic training at the age of nine andbriefly made his living as a decorator of ceramics
before entering the studio of Taki Katei in 1888.
He spent two decades working mainly as a news
illustrator but also made his debut as a Nihonga
painter in 1896 with a scroll of cranes and pineshown at the first exhibition of the Nihon Kaiga
Kyokai (Japan Painting Association).

128 | BONHAMSThe original image in the 1926 auction catalogueof the Oshiki Collection

358 *SHIBATA ZESHIN (1807–1891)
Meiji era (1868-1912), late 19th/early 20th century
Kakejiku, ink and colour on silk, depicting an elderly
couple, the man resting and smoking a pipe, whilst
the woman crouched at his feet spins thread onto aspool, tea cups, rice stalks and a wood kine (pestle)
lying on the ground behind them, signed Zeshin withseal Shin, accompanied by an auction slip recordingthat the painting was sold in April 1926 for 407
yen and 80 sen, and that the auction was held by
Matsunaga Genkichi, Hokura Hikoichi and Hokura
Hikohachi; with wood storage box titled Rofufu nozu, Shibata Zeshin hitsu, the inside of the lid with an
inscription authenticating the painting and signedby the artist’s second son Shinsai with seal in 1885.
Overall 193cm x 62.5cm (76in x 24 5/8in),image 125.6cm x 32.4cm (49 7/16in x 12¾in). (3).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Provenance: Oshiki Genjiro collection, sold at
Shinjoji, Niigata, 14th April 1926, lot 10. The Oshiki
were a prominent family in Niigata Prefecture who
owned several works by Zeshin and were on close
terms with the artist’s second son Shinsai.

FINE JAPANESE ART| 129

359 *ATTRIBUTED TO ISHIZAKI YUSHI (1768-1846)
PORTRAIT OF HENDRIK DOEFF
Edo period (1615-1868), circa 1809-1830
Kakejiku, (hanging scroll), ink and colours on silk, depicting a bust
portrait of Hendrik Doeff, Commissioner of the Dutch Factory at
Dejima, in profile facing left, with prominent nose and lips, his hairalready thinning, dressed in the formal attire of a Dutch official,within an oval reserve cut by the sides of the composition, inscribedunderneath HENDRIK DOEFF; in modern silk mounts that incorporate
European lettering as copied in Japan during Doeff’s lifetime, the joge
(strips above and below the image) copying Indian printed cotton.
Fitted with modern futomaki (large-diameter roller) and storage box
together with an outer slipcase.
Overall 139cm x 52cm (54¾in x 20½in),image 66cm x 32.6cm (26in x 12 7/8in). (4).
£25,000 - 30,000
JPY3,200,000 - 3,800,000
US$31,000 - 37,000
Published: Ono Tadashige, Edo no Yogaka (Western-Style Paintersin the Edo Period), Tokyo, Sansaisha, 1968, p.110 (misattributed to
Kawahara Keiga)This Western-style portrait of one of the Netherlands’ most devoted
pre-modern students of Japanese language and culture was likely
painted by Ishizaki Yushi (1768-1846), a painter associated with theclose-knit Dutch community that lived on the tiny fan-shaped isletof Dejima in Nagasaki Harbour. The best-known Japanese painted
image of Hendrik Doeff, a small (35cm x 23cm) bust portrait on paperin Kobe City Museum, is clearly a representation of the same individual
and shows him in three-quarter profile, dressed in the same uniform
but with the accoutrements of his office as props: inkstand, quill anda shelf of books. Both the Kobe portrait and the present lot have, likemany other Western-style paintings of Western subjects from thisperiod, been traditionally but incorrectly attributed to Yushi’s pupil
Kawahara Keiga, who was active in Nagasaki only from 1823, six
years after Doeff’s depature (see below). 1
The extraordinary quality and psychological insight of the painting,far superior to the Kobe portrait, suggests the hand of an artist
with thorough and varied training and a keen interest in his humansubjects, qualities that are abundantly evident in signed or more firmly
attributed works by Ishizaki Yushi, in particular the portrait of Ota
Nanpo mentioned below; judging from the age of the sitter one
might speculate that it was executed toward the end of Doeff’stime in Nagasaki.
Born the son of Arai Gen’yu, Yushi studied both Chinese-style andWestern-style painting (including mirror painting) under his father’s
direction; his father’s own teacher Ishizaki Gentoku also instructed
him in Western-style painting and he was adopted into the Ishizaki
family at the age of 21. He is best known for his success in marrying
the manner of painting introduced to Nagasaki by the Chinese émigré
Shen Nanpin in 1731-33 with Western techniques of perspective
and chiaroscuro. He inherited from his father the title of Kara-e mekiki(Censor of Foreign Art Works) 2 and from 1796 was permitted tofrequent and paint in the foreigners’ quarters.

130 | BONHAMS

Yushi occupied a central position in the world of Nagasaki painting formany years, reputedly training more than 270 pupils, but his activities
were not confined to that city: he appears to have travelled as far
as Osaka and to have met such luminaries as Kimura Kenkado andMotoori Norinaga. He painted a meticulously naturalistic, insightfulWestern-inflected birthday portrait of the artist, poet and wit Ota
Nanpo (Shokusanjin) during the latter’s brief government service in
Nagasaki in 1804-5 and the two men remained on close terms. 3
His best known painting in a Western collection is the Portrait of
the Cock Blomhoff Family (1817) in the Rijksmuseum, Amsterdam; 4
portraits of Blomhoff and of Mr and Mrs De Villeneuve, views ofNagasaki, and paintings of Dutch ships and related subjects are in
Kobe City Museum and Nagasaki Museum of History and Culture.
Born in Amsterdam, Hendrik Doeff (1777-1835) arrived at
Dejima in 1799 and was promoted to the position of Opperhoofd(Commissioner) of the Dutch factory (trading post) four years later,
remaining in Dejima until 1817. The early years of his appointment
coincided with the French occupation of the Netherlands and theBritish occupation of Java, with the result that hardly any ships
visited Dejima, leaving Doeff with plenty of time to embark upon an
intense and systematic study of the Japanese language, latterly aided
by official interpreters. This resulted in his great Dutch-Japanesedictionary, completed in 1817 but not published until 1855, and in1833 he also published Herinneringen uit Japan, a volume of memoirs
regarding Japan. 5 The eponymous hero of British novelistDavid Mitchell’s novel The Thousand Autumns of Jacob de Zoet
(London, Sceptre/Hodder and Stoughton, 2010), is based in part on
Doeff and the narrative incorporates several incidents from his career,
including the British naval bombardment of Nagasaki in 1808.
Notes:
1. For the Kobe portrait, see the Kobe City Museum website,
http://www.city.kobe.lg.jp/culture/culture/institution/museum/meihin_
new/625.html
2. Timon Screech, The Western Scientific Gaze and Popular Imagery
in Later Edo Japan: The Lens Within the Heart, Cambridge, New Yorkand Melbourne: Cambridge University Press, 1996, p.157
3. Private collection, see Kobayashi Fumiko and Mukojima Nobuhiro,‘Ishizaki Yushi “Ota Nanpo shozo” (Ishizaki Yushi’s “Portrait of Ota
Nanpo”),’ Ukiyo-e geijutsu (Ukiyo-e Art), 2007 (154), pp.78-79,
accessible at http://unno.nichibun.ac.jp/geijyutsu/ukiyoe-geijyutsu/
lime/154_078.html
4. https://www.rijksmuseum.nl/en/collection/NG-2008-64
5. For a fresh, recently published look at the Anglo-Dutch conflictin relation to Nagasaki, see Timon Screech, ‘Thomas (Sir Stamford)
Raffles (1781-1826) and Dr. Donald Ainslie (died 1816),’ and ‘Admiral
Sir Fleetwood Pellew (1789-1861) and the Phaeton Incident of 1808,’
in Hugh Cortazzi ed., Britain and Japan: Biographical Portraits:
Volume X, Honolulu, University of Hawai’i Press, 2016.
For an account of Doeff’s dictionary project and the controversy over
its authorship, see Rudolf Effert, ‘The Dufu Haruma: An Explosive
Dictionary’, in Anna Beerens and Mark Teeuwen eds., Uncharted
Waters: Intellectual Life in the Edo Period, Essays in Honour of
W. J. Boot, Leiden, Brill, 2012, pp.197-220.

FINE JAPANESE ART| 131

360 (part lot)

WOODBLOCK PRINTS
Various Properties
360
ANDO HIROSHIGE (1797-1858), UTAGAWA HIROSHIGE II(1826-1869), UTAGAWA KUNISADA (1786-1864) AND OTHERS
Edo Period (1615-1868) or Meiji era (1868-1912),
mid to late 19th century
Comprising 14 oban sumo-e prints, the majority incomplete sheets from
triptychs, and five oban fukeiga (landscape) prints: five landscape prints,
three by Hiroshige, consisting of Seki from the Hoeido’s Tokaido series
and two prints of Sakai and Atago from the 100 Famous View of Edo
series; two by Hiroshige II, of Nezu and Oomon dori from the Views ofFamous Places in Edo series; 14 sumo-e, five by Toyokuni III (Kunisada),
including the sumo wrestlers Onomatsu and Koyanagi Chokichi; one by
Toyokuni III or Toyokuni II of Kuroiwa Morinosuke; six by/attributed to
Kuniaki II, including the one of Onaruto Nadaemon of Awa Province; thelast two by Kuniteru II; variously published and various signed.
The smallest 34.8cm x 24.5cm (13¾in x 9¾in),the largest 38cm x 25.5cm (15in x 10 1/8in). (19).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
361
OGATA GEKKO (1859–1920)
Meiji era (1868-1912), dated 1897 and 1898
An album of the complete set of 36 oban tate-e woodblock prints titled
Nihon hanazu-e (Pictures of Japanese Flowers), depicting legends, fairy
tales, No plays and other stories associated mainly with the theme ofcherry blossoms, the illustrations include Lord Kusunoki bidding farewell
to his son before the battle at the Sakurai Station, a scene from the No
play Hanagatami (Flower Basket) with Teruhi-no-mae holding a flower
basket and a letter from her beloved Prince Otabe, and an old man
sprinkling ashes on cherry trees from the fairy tale Hanasaka jiji (The Old
Man Who Turned Withered Trees to Blossom), some sheets with mica
and embossed details, published by Matsumoto Heikichi, dated Meiji
30 and 31 (1897 and 1898); all signed Gekko, the frontispiece with aninformative print showing the table of contents, with original cover andtitle slip. 35.7cm x 24cm (14in x 9 7/16in).
361 (part lot)
132 | BONHAMS£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

362

PAINTED SCREENS
Another Property

EMBROIDERED WORKS OF ART
Various Properties

362 TPKANO YOSEN’IN (1753-1808)
Edo period (1615-1868), circa 1781-1794
A six-panel folding screen, ink and gold leaf on paper, the left-handscreen of a pair, depicting a lively scene of horses gambolling on a
mountainside, a large pine tree at left, peaks in the background,signed Yosen Hogen hitsu (Brushed by Yosen Hogen)with seal Genshisai.
170cm x 348cm (67in x 137in).

363
A LARGE EMBROIDERED WALL HANGING
Meiji era (1868-1912), late 19th/early 20th century
A large-scale tapestry depicting a moonlit rural scene in summer
framed by tall luxuriant verdant bamboo trees, ducks on rocky banks
in the foreground and swimming on the winding stream on the far
left, thatched dwellings nestled at the foot of the bamboo grove, allhandwoven with predominantly different shades of green silk thread,
within a moss-green silk border embroidered with repeated stylised
birds and flowers; unsigned.
Overall 236cm x 170cm (93in x 67in),image 204cm x 140cm (80¼in x 55 1/8in).

£1,500 - 1,800
JPY190,000 - 230,000
US$1,900 - 2,200
Kano Yosen’in, also known as Korenobu, was the sixth head of theofficial Kobikicho (Edo) workshop of the Kano school of painters. He
was raised to the quasi-priestly rank of hogen (dharmic eye) in 1781
and attained the still more senior status of hoin (dharmic seal) in
1794, the signature on the present screen thus suggesting that it waspainted between those dates. He was a prolific artist and his works are
in several Western public collections including the British Museum andthe Museum of Fine Arts, Boston—famed for its holdings of the later
Kano academy—which owns several paintings by him from the Weld
and Bigelow collections (inv. nos. 11.4454-4458, 11.6845-4688 and11.6851-6853).

£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
Illustrated on page 134.
364 *TPA FINE SILK EMBROIDERED WALL PANEL
Probably Kyoto, Meiji era (1868-1912), circa 1890
Finely worked and hand woven with abundant use of gold andother coloured silk threads of green, red, brown and black, depicting
a spring scene of 26 cockerels and hens gathered on a meadow
with dandelions; unsigned.
185cm x 120cm x 2cm (72 7/8in x 47¼in x ¾in).
£4,000 - 6,000
JPY510,000 - 770,000
US$5,000 - 7,400
The design for this tapestry was most probably based on the hanging
scroll titled Gunkei-zu (Roosters) by Ito Jakuchu (1716-1800) in thecollection of Sanmomaru Shozo-kan Museum, Imperial Household
Agency, illustrated by Kano Hiroyuki ed., Ito Jakuchu daizen(Ito Jakuchu Encyclopedia), Tokyo, Shogakukan, 2002, p.116. no.66.
Illustrated on page 135.

FINE JAPANESE ART

| 133

363
134 | BONHAMS

364
FINE JAPANESE ART

| 135

365

LACQUER WORKS OF ART
Various Properties
365
A PORTABLE LACQUER CABINET IN NANBAN STYLE
Momoyama period (1573-1615), late 16th/early 17th century
Of black-lacquered wood with nine drawers, two half-width drawers
at the top and bottom and four smaller drawers to either side of adouble-height central drawer fitted with a lockplate, decorated in goldand silver hiramaki-e and shell inlay with panels of typical early Nanban
motifs including kikyo (Chinese bellflower), maple and vine with longtailed birds, each panel enclosed within geometric shell borders withadditional formal decoration in gold hiramaki-e, the interiors black
lacquer, the metal fittings gilt copper, the original drop-front missing.
24.5cm x 25.2cm x 23.9cm (9 5/8in x 9 7/8in x 9 3/8in).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700(reverse)

136 | BONHAMSFor early Nanban lacquers of almost identical construction and size,
compare James C.Y. Watt and Barbara B. Ford, East Asian Lacquer:
The Florence and Herbert Irving Collection, New York, Metropolitan
Museum of Art, 1991, cat. no.105 and Joe Earle, Japanese Lacquer:
The Denys Eyre Bower Collection at Chiddingstone Castle, London,
Christie’s Books, 2000, cat. no.10.

366 (part lot)

FINE JAPANESE ART| 137

366 *AN OCTAGONAL GOLD-LACQUER BOX
FOR THE SHELL-MATCHING GAMEFROM A SET OF DOWRY LACQUERS,WITH 278 PAINTED CLAM SHELLS
Edo period (1615-1868), early 19th century
The octagonal box and slightly domed inrobuta (flushfitting cover) on an octagonal stand, constructed fromwood, the exterior with an all-over gold nashiji grounddecorated in gold, silver and black hiramaki-e, takamaki-e
and foil with nanten (nandina) bushes, leaves and berries
growing from doha (mounds), interspersed with several
maru ni futatsu karikane (two wild geese in a circle) crests
as used by the Masuyama family, the interior of the lid
and the upper part of the interior of the box finished ingold nashiji, the remainder of the interior lined with silk
brocade; with two wood storage boxes containing 278
paired clam shells each painted inside in ink, gold andmineral colours with a wide range of corresponding
designs; the box also with a wood storage box.
The box 46cm x 36cm (18 1/8in x 14 1/8in);the shells approximately 9.3cm (3 5/8in) wide. (284).
£15,000 - 20,000
JPY1,900,000 - 2,600,000
US$19,000 - 25,000367

During the Edo period kai-awase (the shell-matchinggame) was a popular memory-testing pastime among
women of the samurai elite. The game can take several
different forms, but all of them depend on the fact thateach pair of clam shells, forming a unique physicalmatch that cannot be replicated, is painted with two
designs that together form a unique pictorial or literary
correspondence. In one version of the game, a selectionof shells is divided, one set of separated halves is put ina box and the other is laid out, face up, on the tatamimatter floor. Half shells are taken one by one from thebox and matched with their mates on the floor, using
the pictorial and literary correspondences as clues.
The present box almost certainly formed part of a konrei
chodo, a large set of lacquered furniture made for asenior samurai bride as part of her dowry.
Illustrated on page 137.

367
A LARGE GOLD-LACQUER FIVE-TIERED JUBAKO(CONFECTIONARY BOX) AND COVER
Meiji era (1868-1912), late 19th/early 20th century
The cover and exterior of the detachable tiered boxes
decorated in gold hiramaki-e, kinji, e-nashiji and shellwith chrysanthemum crests scattered over a chequered
ground, the interior of rich nashiji; unsigned,with a lacquered wood storage box.
39.7cm x 26.5cm x 28cm (15 5/8in x 10 3/8in x 11in). (7).
368

138 | BONHAMS£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

368
A GOLD-LACQUER KOGO
(INCENSE BOX) AND COVER
Edo period (1615-1868) or Meiji era (1868-1912),
Late 19th century
Of shallow circular form, the kinji ground lacqueredin gold and slight-coloured takamaki-e with twogeese flying over the inlaid silver moon,
the interior of rich nashiji; unsigned.
7.6cm (3in) diam. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

369

369
A LARGE GOLD-LACQUER CIRCULAR PLATE
By Hogisai Komin, Meiji era (1868-1912),
late 19th/early 20th century
Raised on a circular foot, decorated in gold
takamaki-e, hiramaki-e, kirikane and e-nashiji witha large exotic bird perched on a stalk of fuyo (rosemallow) growing on the banks of a river and its mateswimming in the river, two butterflies hovering over the
blooms, details inlaid in shell; the base signed in gold
lacquer within a rectangular reserve Hogisai Komin.
8.5cm x 33cm (3 3/8in x 13in).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200
370Y Ф
A LACQUERED CONTAINER
AND WOOD COVER SIMULATING A CHA-IRE(TEA JAR) AND IVORY COVER
After Shibata Zeshin, Meiji era (1868-1912),
late 19th/early 20th century
Of slender ovoid form, lacquered in shumon-nuri
to imitate the body of Seto ware and its lustrous,
flocculent brown and ochre glaze, which covers
the jar stopping just above the foot, the baseinscribed Zeshin.
7.3cm (2 2/8in) high. (2).

(370 - signature)370£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
FINE JAPANESE ART| 139

General Yusaku Uehara (1856-1933)

General Murk Boerstra (1883-1953)

371
A DOCUMENTARY GOLD-LACQUER TEBAKO(BOX FOR ACCESSORIES)
Taisho era (1912-1926), circa 1921-1922
Of standard form with rounded corners and inrobuta (flush-fittinglid), the matt gold-lacquer ground decorated in gold hirame, silver
and coloured lacquer in various techniques with a close-up designof kuzu (vine), hagi (bush clover) and butterflies with clouds, thedesign extending over the side, the interior and base gold nashiji, therims silver, the interior of the lid with a long inscription (see below);
unsigned, with a lacquered wood storage box.
13cm x 21.4cm x 27.4cm (5 1/8in x 8 3/8in x 10¾in). (3).
£5,000 - 7,000
JPY640,000 - 900,000
US$6,200 - 8,700

The inscriptions inside the lid are as follows:
Zo Berusutora Daii-dono Taisho juichinen sangatsu (Presented toCaptain Boerstra in March 1922), followed by the names of the donors:
Uehara Gensui (Marshal Uehara)
Kikuchi Chujo (Lieutenant-General Kikuchi)
Tanaka Shojo (Major-General Tanaka)Umezu Chusa (Lieutenant-Colonel Umezu)
Yamaoka Shosa (Major Yamaoka)
Sonobe Shosa (Major Sonobe)
Watari Shosa (Major Shosa)Fujitani Daii (Captain Fujitani)
Shichida Daii (Captain Shichida)
Banzai Daii (Captain Banzai)
Hongo Daii (Captain Hongo)
According to photocopies (accompanying this box) of extensive family
documentation, this lot was presented as a gift at a ‘Brilliant reception
held by the Netherlands Minister and Madame de Graeff’ at the Dutch
legation in Tokyo on Sunday 26 March 1922 before the marriage of
their daughter Elizabeth to Captain Murk Boestra, Military Attacheto the Netherlands in Tokyo and Beijing. The event was attended by‘Representatives of the Imperial Household, the entire Diplomatic
Corps and prominent Japanese and foreign residents’ who presented
many gifts including this ‘beautiful gold lacquer box . . . sent by the
Chief of Staff Marshal Uehara and the members of his staff’.
Uehara Yusaku (1856-1933) served as War Minister in the second
Saionji cabinet and received the rank of Marshal in 1921; he was also
the founder of the Japanese Army Engineering Corps. Murk Boestra(1883-1953) went on to become Lieutenant General, Commander ofthe Army and Chief of the War Department in the Dutch East Indies.
Several features of this box, including the overall shape, the matt gold
ground and the disposition of the decoration, recall the style of theleading lacquer artist Akatsuka Jitoku (1871–1936) who made many
formal presentation boxes.

140 | BONHAMS

(interior)

FINE JAPANESE ART| 141

(interior)

372
A RECTANGULAR GOLD-LACQUER INRO KODANSU (CABINET)
Meiji era (1868-1912), late 19th/early 20th century
The rich kinji ground decorated in gold takamaki-e, profuse e-nashiji,hiramaki-e and kirikane with mountain retreats on the edge of cliffs
overlooking a waterfall, the Chinese landscape continuing over thesides and the reverse, the hinged double doors opening to reveal
three drawers within decorated with windblown stems of bamboo
and yabukogi (coralberry) gently bending in the autumn breeze behindrocks, the inside of the doors similarly lacquered with Chinese boys atleisure, applied with silver mounts chased with karakusa(‘Chinese grasses’); unsigned.
14cm x 15.2cm x 11.2cm (5½in x 6in x 4 3/8in).
£1,500 - 2,500
JPY190,000 - 320,000
US$1,900 - 3,100
Provenance: a European private collection.
142 | BONHAMSBUDDHIST ART
Various Properties
373
A GILDED-WOOD AMIDA TRIAD
Muromachi (1333-1573), Momoyama (1573-1615)
or Edo (1615-1868) period, 16th/17th century
Comprising a central standing figure of Amida Buddha, his right handraised in the semuiin gesture of reassurance and his left hand held
down facing outward in the yogan’in gesture of welcome, the byakugo
in the forehead and the nikkeishu in the hair both inlaid in crystal, avertical kohai nimbus behind, supported on an elaborate multi-stage
pedestal consisting of a lotus blossom on a footed stand above a
lotus-petal dais, itself resting on several octagonal components overa red-lacquered base; to either side figures of the bodhisattvas Seishi
and Kannon, each slightly smaller than the Amida figure and leaning
forward, one with hands raised and the other with hands lowered,each supported on a lotus blossom above a branched-cloud bracket
that slots into the lowest part of the pedestal, and fitted with a giltmetal headdress with coral and coloured stone ornaments; one alsowith a chest decoration; each with a kohai.
Height of tallest figure including stand 80cm (31½in). (6).
£4,000 - 6,000
JPY510,000 - 770,000
US$5,000 - 7,400
Provenance: a French private collection.
Property from an important castle in central France since the 19th century.
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| 143

374
A GILDED-WOOD STANDING FIGURE OF SHO KANNON
Edo period (1615-1868), 17th century
Standing in flowing robes, her left hand holding a lotus flower, her righthand raised in the semuiin gesture of reassurance, with typically tall
headdress, a tiny byakugo inlaid in the forehead, a detachable verticalkohai (nimbus) behind, supported on an elaborate multi-stage pedestal
consisting of a lotus blossom on a hexagonal dais, itself resting on
another hexagonal component supported by a roaring Buddhist
lion above another hexagonal cloud-carved dais above aplain red-lacquer base.
Total height 77cm (30 3/8in). (2).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

WOOD WORKS OF ART
Various Properties
375
FOUR WOOD OKIMONO
Meiji era (1868-1912), late 19th/early 20th century
Comprising several rats of various sizes piled on top of each other toform a tall elongated structure, signed on the base Mimuzuku/Jizen,
15.5cm (6 1/8in) high, with a detachable wood stand; the second a
receptacle and cover in the form of a snake coiled around a rice stook
and attacking the hidden prey within, signed Norikazu, 8.2cm (3¼in)
high, with separate wood stand; the third an oni (demon) seated andmasquerading as a woman serving tea, signed in a red-lacquer reserve
Yasuchika, 5.7cm x 6.5cm (2¼in x 2½in); the last Ashinaga standing
on a rock and beating a hand drum, unsigned; 22.2cm (8¾in) high. (7).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Provenance: a European private collection.
376*
A WOOD OKIMONO OF A CARPON AN EN-SUITE WOOD STAND
By Kyucho, Taisho era (1912-1926)
Naturalistically carved with its body slightly curved to the right and its
tail thrashing the water, its eyes double-inlaid with pale horn and dark
pupils, signed on the underside in a rectangular reserve Kyucho, withdetachable en-suite wood stand carved to simulate rough water; withwood tomobako storage box titled Koi okimono (Carp Okimono) andwith an old collector’s label inscribed Kaga Maedake denrai Kyucho
saku kibori koi (Wood carving of a carp made by Kyucho from thecollection of Maeda family of Kaga).
The fish 9.5cm x 28.5cm (3¾in x 11¼in),the stand 7.5cm x 33.5cm (3in x 13 3/16in). (3).
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000374

144 | BONHAMS

375

376

FINE JAPANESE ART

| 145

377

378

NO MASKS
Various Properties
377
A MASK FOR THE NO DRAMA: OKINA (OLD MAN)
Edo period (1615-1868), 18th century
Carved in wood and painted in polychrome pigments over gesso,
the beard and eyebrows of animal fur, the movable jaw attached withcotton ties, the reverse with a small worn handwritten label,silk tying cord.
20cm (7 7/8in) high.

378
A DEMON MASK FOR THE NO DRAMA
Edo period (1615-1868), 19th century
Carved in wood and painted in polychrome pigments over gesso, theeyes overlaid with copper, silk tying cord; with a black-lacquer storagebox inscribed Katsura, lined with dyed paper; with a handwrittenenvelope and two certificates.
21cm (8¼in) high. (5).

£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

146 | BONHAMS

379

379
A MASK FOR THE NO DRAMA: KO-OMOTE (YOUNG GIRL)
Edo period (1615-1868) or Meiji era (1868-1912),
19th century/early 20th century
Carved in wood and painted in polychrome pigments overgesso, with traces of a paper label inscribed Ko-omote Deme;with a silk brocade storage bag.
21.4cm (8 3/8cm) high. (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

380

380
A MASK FOR THE NO DRAMA: KO-OMOTE (YOUNG GIRL)
Edo period (1615-1868) or Meiji era (1868-1912),
19th century/early 20th century
Carved in wood and painted in polychrome pigments
over gesso. 21.4cm (8 3/8cm) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

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OTHER INLAID LACQUER WORKS OF ART
Various Properties
381
A LACQUERED AND INLAID WOOD PANEL
After Ritsuo, Meiji/Taisho era (1868-1926), early 20th century
Of slender rectangular form, decorated with a butterfly flitting over apeony flower in gold and red lacquer relief with details of inlaid ceramic
and pewter on a reddish-brown ground, the top applied with a bronze
mount and attached with a bronze loop for hanging, inscribedwith an inlaid seal Kan.
141.2cm x 14cm (55 5/8in by 5½in).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
382 TP Y Ф
A SHIBAYAMA-INLAID LACQUERED WOOD CABINET
Meiji era (1868-1912), late 19th/early 20th century
Of conventional form, constructed in five sections with a symmetricalarrangement of sliding doors, drawers, hinged double cupboard andsingle doors and open shelves, each door and drawer inset witha gold-lacquer panel decorated in gold takamaki-e and applied intypical Shibayama inlay depicting different figural scenes of Chineselegendary figures on the verandas of palatial residences, rakan with
their attributes and Chinese boys acting out various leisurely andmusical pursuits, the whole supported on a detachable elaborate fourcabriole-legged rectangular wood stand carved with writhing dragons
amid clouds, the top carved with an elaborate crest in the form of adetachable dragon above a ho-o (phoenix), the sides carved in low
relief with seasonal flowers; unsigned.
226cm x 129cm x 52cm (89in x 50¾in x 20½in). (5).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

381
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383

IVORY OKIMONO FIGURES AND OTHER IVORY
WORKS OF ART
A EUROPEAN PRIVATE COLLECTION(Lots 383-409)
383Y Ф
SIX IVORY FIGURES AND ONE STAG ANTLER FIGURE
Meiji era (1868-1912), late 19th/early 20th century
Comprising a karako (Chinese boy) holding a war fan and seated on an
exaggeratedly large handscroll, one roller removable to reveal a mouse
hidden within, unsigned, 6cm x 9cm (2 3/8in x 3½in); the second amother ushering her child in front of her, signed Chikayoshi, 8cm(3 1/8in) high; the third and fourth two Chinese boys dressed in formal
attire, one clutching a basket brimming over with shells, unsigned, 7cm(2¾in) high, the other boy holding jingles, unsigned, 9cm (3½in) high;the fifth a group of brawling itinerant entertainers, signed Tomin, 5.2cm
x 4cm (2in x 1¼in); the sixth a group of two sumo wrestlers squating
and glaring at each other before their match, each signed Kazuyuki,
4cm x 5.5cm (1½in x 2 1/8in); the seventh a stag antler erotic groupof a man and woman, the former with one arm around the latter as
the woman laughs coyly behind her hand, signed in an irregularreserve Chikuyosai Tomochika with seal Tomochika,
8.3cm (3¼in) high; with five unrelated, modern wood stands. (13).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

384
150 | BONHAMS

384Y Ф
FOUR IVORY FIGURE OKIMONO
Meiji era (1868-1912), late 19th/early 20th century
Comprising two models of Amida Buddha seated in meditation withhis hands in dhyana mudra in the front, the face with crisply delineatedfeatures framed by a coiffure of small curls covering a low usnisha

385 (part lot)
fronted by a secondary urna, one signed with a red-lacquer reserve
Toshiyuki/Shushi and with details inlaid with shell, 8.5cm (3 5/8in) high;the second 10.1cm (4in) high; the third a kneeling rakan lifting up over
his head a basket containing a Chinese diety and child, a hossu (flywhisk), tucked into his belt behind, with shell-inlaid details, signed on
the base within a red-lacquer reserve Masachika, 16.3cm (6 3/8in) high;the fourth Sanfushi Sennin standing with hands crossed on an upturned
parasol floating over water, with shell-inlaid details, signed [...] haru,
15.5cm (6 1/8in) high; with four separate, unrelated wood stands. (8).
£1,200 - 1,800
JPY150,000 - 230,000
US$1,500 - 2,200
385Y Ф
SEVEN IVORY AND ONE STAG ANTLER FIGURE OKIMONO
Meiji era (1868-1912), late 19th/early 20th century
Comprising a figure of Kannon standing on a lotus pedestal,
conventionally depicted with one hand raised in raigo-in or semui-in(gestures of reassurance and welcome) and the other holding a vase,signed Hiromitsu, 12cm (4¾in) high; the second a boyherd playing aflute and seated on the back of a tethered ox, a girl leading the animal
by a rope halter at the front, signed Juhaku, 6.2cm x 5.7cm (2 3/8in
x 2¼in); the third a monkey-trainer with his performing pet seated on
his shoulders, unsigned, 11.5cm (4½in) high; the fourth a Chinese
maiden clutching a basket of flowers, signed in a red-lacquer reserve
Naganobu, 7.7cm (3in) high; the fifth a stag antler woodsman holding
a tray of bricks on his head, unsigned, 9.1cm (3½in) high; the sixtha yakko (samurai servant) balancing a detachable spear decorated
with a bird’s feather, fixed to a wood stand, unsigned, 19.7cm (7¾in)high; the seventh a man with a tenugui wrapped around his head andholding a parasol, signed Juzan, 5.7cm (2¼in) high; the eighth two
men performing acrobatics with a young boy, unsigned, 6.5cm (2¼in)high; with five unrelated, separate wood stands. (14).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

386
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387

388
386Y Ф
AN IVORY OKIMONO FIGURE GROUP WITH A CLAM SHELL
By Munemasa, Meiji era (1868-1912), late 19th/early 20th century
Comprising a fantastical group of several exuberant fishermen, somelifting children and standing on baskets, stools, rocks or on theshoulders of their companions supporting a gigantic clam shell, revealing
within four of the Shichifukujin (Seven Gods of Good Fortune) seatedand enjoying a drunken lunch, the base carved with sailing boats andfishing nets drying on the shore beside a thatched building, signed in arectangular reserve Munemasa; with a modern wood stand.
13cm x 13.6cm (5 1/8in x 5 3/8in),the stand 6.1cm x 14.5cm (2 3/8in x 5 5/8in). (2).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
Illustrated on page 151.

387Y Ф
A WALRUS TUSK OKIMONO FIGURE OF A WARRIOR
By Gyokuho, Meiji era (1868-1912), late 19th/early 20th century
Standing in a belligerent pose on a rock, wearing full armour, clutchinga halberd and a fan, a pair of swords tucked into his waist at the side,
signed beneath Gyokuho; with a separate wood stand.
30.5cm (12in) high. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
389
152 | BONHAMS

388Y ФAN IVORY OKIMONO OF A WOMAN AND CHILD
By Yoshiyuki, Meiji era (1868-1912), late 19th/early 20th century
Standing and elegantly clad in a formal kimono, holding in one handa toy sword and in the other a harugoma (hobby horse) whilst her
young son dressed in a hakama teases a cat standing on its hind legs
and playing at his mother’s feet, signed Yoshiyuki; with wood stand.
19.7cm (7¾in) high, the stand 1.7cm x 8.6cm (5/8in x 3 3/8in). (2).
£1,200 - 1,800
JPY150,000 - 230,000
US$1,500 - 2,200

389Y Ф
A WALRUS TUSK OKIMONO FIGURE GROUP
Meiji era (1868-1912), late 19th/early 20th century
Consisting of a Yamabushi priest holding an oi (travelling pack)containing scrolls strapped to his back and trying to subdue two
warriors by trampling one underfoot and grabbing the second by
his neck, unsigned; with an unassociated separate wood stand.
12.2cm (4¾in) high. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

390
390Y Ф
AN IVORY OKIMONO OF INARIAND SANJO KOKAJI (MUNECHIKA)
By Osei, Meiji era (1868-1912), late 19th/early 20th century
The celebrated swordsmith shown kneeeling and forging the sword
Kogitsunemaru (Little Fox) for the Emperor Ichijo, assisted by the rice
Inari who stands besides him holding a mallet and wearinga fox headdress, signed Osei with a kao; with an unassociateddetachable wood stand.
13.7cm (5 3/8in) high, the wood stand 3cm x 8cm(1 1/8in x 3 1/8in). (2).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

391Y Ф
AN IVORY OKIMONO OF TAIRA NO TADAMORIAPPREHENDING THE OIL THIEF
Meiji era (1868-1912), late 19th/early 20th century
The hero shown grabbing the culprit by the scruff of his neck andtwisting his arm behind his back whilst the jar of oil and his tatteredstraw hat drops on the ground, unsigned; with an unassociatedsquare wood stand.
12.7cm (5in) high, the stand 4cm x 8.7cm (1½in x 3 3/8in). (2).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
391
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392Y ФAN IVORY OKIMONO FIGURE GROUP
By Hakushin, Meiji era (1868-1912),
late 19th/early 20th century
Comprising a female warrior carrying a quiver ofarrows across her chest and holding a bamboo rod(lacking), the end of the line attached to a fish which
an elderly nobleman clad in armour examines, knelt
on the ground, signed beneath the female warrior’s
foot Hakushin; with separate wood stand.
9cm (3½in) high. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

392
393Y Ф
AN IVORY OKIMONO NETSUKE OF ADISAPPOINTED RAT CATCHER
Meiji era (1868-1912), late 19th/early 20th century
Lying down with an agonised expression as hepresses down on a trap from which a rat has justescaped, a tasselled kayoi-cho (accounts book)lying over the man’s leg, unsigned;with an unassociated, modern wood stand.
4.5cm x 9.2cm (1¾in x 3 5/8in),the stand 3.6cm x 12.5cm (1 3/8in x 4 7/8in). (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

393
394Y Ф
AN IVORY FIGURE OKIMONO GROUP
Meiji era (1868-1912), late 19th/early 20th century
Representing a genre scene of a nobleman clutchinga mallet in one hand and holding down a giant sea
bream with the other, a cat eyeing a rat scurrying
over the fish whilst two men gesticulate from behind,unsigned; with modern wood stand.
8.5cm x 10cm (3 3/8in x 4in),the stand 4.2cm x 11.6cm (1 5/8in x 4½in). (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900394
154 | BONHAMS

395 (reverse)

395

395Y Ф
AN IVORY OKIMONO GROUP OF KARAKO(CHINESE BOYS) AROUND A STANDING SCREEN
Meiji era (1868-1912), late 19th/early 20th century
Playing onigokko (Blind man’s buff), one boy blindfolded whilst his
companions try to dodge being identified, one boy teasing andmaking the akanbe gesture, pulling down his lower eyelid and sticking
out his tongue, whilst perched on the top edge of the screen, thereverse of the screen carved in low relief with Hotei seated and leaning
against his large treasure sack, accompanied by three Chinese boys,
unsigned; with an unassociated, wood stand.
10.2cm x 10cm (4in x 3 15/16in),the stand 2cm x 11.7cm (5/8in x 4 9/16in). (2).
£1,500 - 2,500
JPY190,000 - 320,000
US$1,900 - 3,100

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396

397

398

399

156 | BONHAMS

396Y ФAN IVORY OKIMONO FIGURE OF A RAKAN
Meiji era (1868-1912), late 19th/early 20th century
Probably representing Hattara Sonja, standing, wearing awide-brimmed straw hat and a loose robe, open at his emaciatedchest, a tiger standing at his feet, fixed on a wood stand; unsigned.
19cm (7½in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
397Y Ф
AN IVORY OKIMONO FIGURE OF SHAKYAMUNI
Meiji era (1868-1912), late 19th/early 20th century
Standing with a ferocious concentrated contenance of staring eyes
and knotted brows during his period of austerities, clutching his robes
to cover his emaciated body, unsigned; with separate wood stand.
19.2cm (7½in) high. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
398Y Ф
AN IVORY OKIMONO OF KOSEKI
By Hidemitsu, Meiji era (1868-1912), late 19th/early 20th century
The mighty bearded figure standing behind a table placed before
him, holding a brush in one hand and supporting above his head alarge cauldron-shaped incense-burner which he has ready to hurl at
any approaching enemy, the base signed Hidemitsu within an oval
cartouche; with an unassociated, wood stand in the form of a lotus.
31cm (11 3/16in) high, the stand 3.5cm x 14cm (1 3/8in x 5½in). (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
399Y Ф
AN IVORY OKIMONO FIGURE OF A RAKAN
By Hoetsu, Meiji era (1868-1912), late 19th/early 20th century
Standing and holding aloft in his right hand a miniature stature of
Amida Nyorai whilst four Buddhist texts lie strewn at his feet,signed beneath in a red-lacquer rectangular reserve Hoetsu;
with separate wood stand.
14cm (5½in) high. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
400Y ФA TALL IVORY OKIMONO FIGURE OF THREE GAMA SENNIN
By Hidemitsu, Meiji era (1868-1912), late 19th/early 20th century
Each shown wearing a cloak and girdle of mugwort, standing on
the stumps of a gnarled tree and forming a human pyramid whilst
affectionately supporting some toads whilst several others of different
size clamber over their shoulders, backs or around their feet, the basesigned in a red-lacquer seal Hidemitsu; with separate wood stand.
97cm (38 1/8in) high. (2).
£7,000 - 9,000
JPY900,000 - 1,200,000
US$8,700 - 11,000

400
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401
401Y Ф
AN IVORY AND WOOD OKIMONO GROUP
OF TWO DRUNKEN MEN
By Ogawa Somin, Meiji era (1868-1912), late 19th/early 20th century
Each on a detachable integral wood base, agape and smiling, one
walking faltering ahead with a tenugui (cotton towel) wrapped aroundhis head and holding a fan whilst his companion following behind,stoops over from the excesses of alcohol, his empty sake gourd
carried over his shoulder, signed in a red-lacquer rectangularreserve Ogawa Somin beneath the standing figure.
30.5cm x 32cm (12in x 12½in) including stand. (4).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
402Y Ф
AN IVORY OKIMONO OF AN ELEPHANT
By Hogyoku, Meiji era (1868-1912), late 19th/early 20th century
Comprising one child and one monkey seated on the opposite sidesof an elephant, both clutching a narrow strip of cloth to haul up
other monkeys gathered around the elephant’s feet, the base signed
Hogyoku; with an unassociated wood stand.
8.7cm 3 3/8in) high, the stand 3.8cm x 10cm (1½in x 4in). (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900402
158 | BONHAMS

403Y ФA LARGE IVORY OKIMONO OF AN EAGLE
Meiji era (1868-1912), late 19th/early 20th century
Constructed in three separate sections, the bird of
prey naturalistically modelled with its head craning
forward and glaring to the right, its wings detachable
and outspread as it prepares to take flight, its eyes
inlaid in mother-of-pearl with dark pupils, perched
on a removable integral wood stand; unsigned.
The bird 18cm x 61cm (7 1/16in x 24in),the stand 69cm x 52cm (27 1/8in x 20½in). (2).
£10,000 - 15,000
JPY1,300,000 - 1,900,000
US$12,000 - 19,000

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404

405
404Y Ф
TWO IVORY OKIMONO OF ANIMALS
Meiji era (1868-1912), late 19th/early 20th century
Comprising a group of three pet chin dogs each wearing a ruff collar
around its neck tied at the back in a bow, frolicking over a brocadeball, the pupils of dark horn, unsigned, 5.1cm x 18cm (2in x 7in);the second a horned, hoofed kirin prancing over tumultuous waters,
signed Teruyuki; 5.5cm x 13.5cm (2¼in x 5¼in). (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
405Y Ф
THREE IVORY OKIMONO OF THE SANBIKI NO SARU
(THE THREE APES)
Meiji era (1868-1912), late 19th/early 20th century
Each seated cross-legged, comprising Iwazaru shown concealing his
mouth, Kikazaru with both his hands over his ears and Mizaru shielding
both his eyes, the apes enacting the concept of ‘see, hear and speakno evil’, unsigned; with an unassociated long rectangular wood stand.
Each monkey approx. 10.7cm (4¼in) high; the stand 1cm x 26.5cm(½in x 10 3/8in). (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

406Y ФFIVE IVORY VESSELS
Meiji era (1868-1912), late 19th/early 20th century
Comprising one tusk vase and cover, carved in relief all over on theexterior with a multitude of masks, arranged as a principal mask on thefront, sides and back surrounded by medium and small-sized masks ofhumans, each shown with a variety of expressions, the integral coversimilarly carved, unsigned, 14.7cm (5¾in) high; the second and third
globular, each crisply carved, one with a multitude of rats clamberingover each other, signed illegibly on a rectangular reserve, 25cm (9¾in)
diam.; the other possibly carved with the Seven Scholars of Jian’an
resting on an unassociated removable ivory elaborate low stand,unsigned, 18cm (7in) diam.; the fourth a receptacle and cover carved
with various masks, unsigned, 5cm (2in) high; the fifth a cane handle
similarly carved all over with small masks, unsigned, 4cm (1½in) high;with two miscellanous stands. (9).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
407Y Ф
AN IVORY OKIMONO GROUP OF A SNAKEAND RAT ON A HUMAN SKULL
Meiji era (1868-1912), late 19th/early 20th century
Comprising a macabre but realistically rendered carving of a snake
coiled in tight loops around a large rodent clambering on a cranium, its
tail trailing beneath; unsigned; with separate wood stand.
5.6cm (2¼in) high. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

160 | BONHAMS

406

407

408

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408Y ФAN IVORY TUSK BOX AND COVER
Meiji era (1868-1912), late 19th/early 20th century
The body elaborately carved in varying degrees
of relief with a continuous fantastical scene offishermen, children and women hauling two large
captured kappa on the seashore, the integral covercarved with a pine tree and surmounted by a finial in
the form of a bird perched on its branch, unsigned;with a detachable stepped wood stand.
The tusk 12.5cm (4 7/8in) high,the stand 8cm x 14.3cm (3 1/8in x 5 5/8in). (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Illustrated on page 161.

409Y Ф
AN IVORY MOUNTED TACHI KOSHIRA-E(SCABBARD FOR A LONG SWORD),A STAINED BONE SCABBARD
AND A LARGE IVORY LETTER OPENER
Meiji era (1868-1912), late 19th/early 20th century
The first carved all over in varying degrees of relief
with various genre, village and legendary scenes
separated by mythological beasts and birds,
unsigned, 97cm (38 1/16in) long; the second carved
with different figures, unsigned, 88cm (34 5/8in)
long; the last a large letter opener with an elaborate
handle carved in high relief with a bird feeding her
young in a nest, unsigned, 38.1cm (15in) long. (3).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

Other Properties
410Y Ф
THREE IVORY FIGURE OKIMONO
Meiji era (1868-1912), late 19th/early 20th century
The first comprising a man and woman seated in
front of a stand laden with food dishes and beside a
brazier, the former holding a pair of chopsticks anda sake cup whilst his wife grills a seabream over the
charcoal, the base with seal Eishin, 9cm x 13.5cm(3½in x 5¼in); the second a seated puppet maker,
holding a brush, adding colour and the finishing
touches to a boy doll, the base signed in a redlacquer reserve Tamayuki, 6.2cm x 7cm(2 3/8in x 2¾in; the third of a peasant grinding ricewith a stamp mill and mortar, whilst his son holds a
winnowing basket containing rice seeds, the basesigned with two seals Mori and Josoku;
13.5cm x 10.2cm (5¼in x 4in). (3).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500409
162 | BONHAMS

410

411Y Ф
TWO IVORY OKIMONO
Meiji era (1868-1912),
late 19th/early 20th century
The first of five artisans adding the finishing
touches to a large statue of a Nio guardian,
one standing on a ladder at the front, the basesigned in an oval reserve Chikuyosai Tomochikawith seal Tomochika, 17.5cm (6 7/8in) high;the second depicting a humorous scene ofseveral demons clambering over and haulingup takaramono (treasures) including scrolls,
simulated corals and kakuregasa(hat of invisibility) up a saddled elephant;signed in a rectangular reserve Gyokuho,
8.5cm (3¼in) high. (2).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

411
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412
412Y Ф
THREE OKIMONO FIGURES
Meiji era (1868-1912), late 19th/early 20th century
Comprising a Chinese sage clutching a reishi fungus, signed
Gyokushinsai with a kao, 14cm (5½in) high; the second a monkey
trainer, supporting his performing pet on his back, unsigned, 12.5cm(4 7/8in) high; the third an old carrying a basket of treasures, several
small sparrows attired in human dress clambering around his feet,
representing the story of the Shitakiri suzume (Tongue-cut Sparrow),
unsigned, 7cm (2¾in) high. (3).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

413Y Ф
ONE TALL WALRUS-TUSK OKIMONO FIGURE
OF A WOODSMAN AND ONE IVORY FIGURE GROUP
OF SHOKI THE DEMON QUELLER WITH ONI (DEMONS)
Meiji era (1868-1912), late 19th/early 20th century
Comprising Shoki, typically modelled shown clutching a sword in
one hand and holding an oni (demon) by the scruff of his neck in theother, three other demons making their escape, the base signed Ono
Ryoji, 10.2cm x 7.7cm (4in x 3in); the other a woodsman standing
with a portable lantern and pipe, a bundle of brushwood contained ina basket strapped to a rack on his back, a rake resting under his leftarm, unsigned, 39.5cm (15½in) high. (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900413
164 | BONHAMS

414
414Y Ф
FOUR IVORY OKIMONO GROUPS
Meiji era (1868-1912), late 19th/early 20th century
Comprising a shoal of closely clustered tai (seabream) of assorted size,
their eyes inlaid in shell with horn pupils, unsigned; 13cm (5 1/8in) wide;
the second a rakan riding a dragon accompanied by three others andfrolicking oni (demons), signed on the base Masatsugu, 8cm (3 1/8in)
high; the third four blindmen fighting, signed [...] min, 5cm (2in) wide;
the fourth a group of the 12 animals of the zodiac, unsigned;
3cm x 4.5cm (1½in x 3¾in). (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

415Y ФA TALL IVORY OKIMONO FIGURE OF A STREET VENDOR
By Masatoshi, Meiji era (1868-1912), late 19th/early 20th century
Standing in his waraji (straw sandals), carrying over his shoulder abamboo pole from which numerous wares are suspended, comprisingvarious baskets and drums of assorted size and shape, with slightshell-inlaid details; signed beneath in a red-lacquer reserve Masatoshi
33cm (13in) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

415
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416
416Y Ф
THREE IVORY FIGURES
Meiji era (1868-1912), late 19th/early 20th century
Comprising an itinerant basket-seller, standing and slightly bent overcarrying over his shoulder a bamboo pole from which numerous
wares are suspended, signed on the base in a red-lacquer reserve
Masatoshi, 15.2cm (6in) high; the second a scholar, standing clutchinga gnarled cane in one hand and holding a miniature sculpture of Amida
Buddha, signed on the base in a red-lacquer reserve Chikaharu, 17cm
(6 5/8in) high; the third a fisherman with two nets, the base signed inseal script Haru/Shun, 23.5cm (9¼in) high. (3).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
417Y Ф
AN IVORY FIGURE OF AN ITINERANT VENDOR
By Hoshin, Meiji era (1868-1912), late 19th/early 20th century
Standing in his waraji (straw sandals), carrying over his shouldera bamboo pole from which numerous wares are suspended,
comprising children’s toys and various drums of assorted size andshape, with slight lacquer and shell inlaid details, signed in a
carved red-lacquer reserve Hoshin.
18.5cm (7¼in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

417
166 | BONHAMS

418
418Y Ф
AN IVORY OKIMONO FIGURE OF AN ARCHER
By Shizuhide/Joshu, Meiji era (1868-1912),
late 19th/early 20th century
Seated on a rectangualar base, shown kneeling in front of a small
box and a textile pouch, his right arm taut and corresponding
hand gripping the bow, about to fire his arrow, a stand offurther arrows on his right; signed beneath in a red-lacquer
rectangular reserve Shizuhide/Joshu.
16.5cm x 14cm (6½in x 5½in).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

419Y Ф
AN IVORY OKIMONO OF A SAMURAI WITH A DOG
By Seigetsu, Meiji era (1868-1912), late 19th/early 20th century
Standing, wearing an eboshi (cap) and clad in elaborate garments,
grasping the empty scabbard of his sword in one hand and holding a
blade in the other whilst a wild dog with one hind leg raised tugs at his
trousers; signed beneath the rock in a rectangular reserve Seigetsu.
27.5cm (10 13/16in) high.
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700

419
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420
420Y ФA TOKYO-SCHOOL IVORY OKIMONO FIGURE OF A SCHOLAR
By Ishikawa Komei (1852-1913), Meiji era (1868-1912),
late 19th/early 20th century
Standing with a pensive expression, wearing a conventional
scholar’s cap and robes, his right hand raised, signed beneathwith two chiselled characters Komei with a kao.
27.1cm (10 5/8in) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

168 | BONHAMS

421

A key figure in the early history of modern Japanese sculpture, Ishikawa
Komei was born into a family of temple craftsman and from the ageof ten studied painting for a time under Kano Kazunobu (1816–1863)
before training as an ivory carver in the workshop of Kikugawa
Masamitsu, a netsuke maker. Starting in 1876 he exhibited his work
widely at home and abroad and participated in the interior decorationof imperial palaces. In 1890 he was named Teishitsu Gigeiin (ArtistCraftsman to the Imperial Household) and in 1891 he was appointed
Professor in the Sculpture Department of the Tokyo School of Art.

421Y ФAN IVORY FIGURE OF A PUPPETEER
By Bunga/Fumimasa, Meiji era (1868-1912),
late 19th/early 20th century
Standing in straw sandals and skilfully manipulatinga karasu tengu puppet, his box of props attached toa rope around his neck carried across his chest; thebase signed Bunga/Fumimasa with a red-lacquer
seal Sodai. 23.5cm (9¼in) high.
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
422Y ФA TALL IVORY OKIMONO FIGURE OF SEIOBO
By Shogetsu, Meiji era (1868-1912),
late 19th/early 20th century
Standing, fixed on an integral circular ivory standcarved with a writing dragon at the front, wearinga headdress and elegantly clad in a Chinese robe,holding across her chest a single sprig of peach in
her left hand and a stalk of peaches in the other;the base signed in a green-lacquer reserve
Shogetsu. 56.5cm (22¼in) high.
£5,000 - 8,000
JPY640,000 - 1,000,000
US$6,200 - 9,900

422
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423

424
423Y Ф
TWO IVORY OKIMONO FIGURES
Meiji era (1868-1912), late 19th/early 20th century
Comprising a fisherman standing with one foot resting
on a wave-lashed rock and drawing in his net, signed beneath
Meido saku, 21cm (8¼in) high; the second probably representing
Haira Taisho, one of the Junishinsho (12 Heavenly Generals), clutchinga dragon-head mounted halberd and wearing a dragon headdress,
unsigned; 23.5cm (9¼in) high. (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

424Y Ф
AN IVORY FIGURE OF A FISHERMAN
By Hokei, Meiji era (1868-1912), late 19th/early 20th century
Standing barefoot on the shore lighting his pipe and wearing a straw
apron with a portable netted-basket and tonkotsu (tobacco pouch)suspended from his waist; the base signed Hokei with seal.
19cm (7½in) high.
£1,600 - 1,800
JPY200,000 - 230,000
US$2,000 - 2,200425
170 | BONHAMS

425Y ФA TALL IVORY OKIMONO FIGURE
OF A FISHERMAN AND CHILD
Meiji era (1868-1912), late 19th/early 20th century
The former standing with one foot resting on awave-lashed rock and blowing a large conch shell,
his left hand clutching a harpoon around which
a rope is tied whilst his young son tugging at his
father’s grass apron and looking towards the sea
points at something in the distance; unsigned.
37.2cm (16 5/8in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

426Y Ф
THREE IVORY OKIMONO FIGURESOF BEAUTIES
Meiji era (1868-1912), late 19th/early 20th century
The first a partially dressed courtesan, her yukata
draped from one shoulder, exposing her breasts,
combing her hair in one hand and cradling a cat
playing with a temari (hand ball) in the other, signed
Michiharu/Doshun, 23cm (9in) high; the second
a lady from a middle-class household, clutchinga flower basket in her right hand and holding her
sleeve in her left, signed Michiaki/Domei, 21.6cm(8½in) high; the third a peasant girl standing witha long-handled basket brimming over with grapes,
a tenugui (cotton towel) covering her head, signed
Doshin; 23cm (9in) high. (3).

426

£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

427Y Ф
AN IVORY OKIMONO GROUP
OF LANTERN MAKERS
By Munechika, Meiji era (1868-1912),
late 19th/early 20th century
Comprising one man standing on a wood stool witha brush and applying a waterproof lacquer coat overa large paper lantern, his young son carrying a bowl
containing ink whilst another man, seated, grinds
the mixture into a bowl, a tobacco pouch and pipe
lying on the floor at his feet; signed on the base in a
red-lacquer rectangular reserve Munechika.
15cm x 18.5cm (5 7/8in x 7¼in).
£1,800 - 2,500
JPY230,000 - 320,000
US$2,200 - 3,100

427
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428

429
428Y Ф
AN IVORY FIGURE OF SHOKI THE DEMON-QUELLER
AND TWO ONI (DEMONS)
Meiji era (1868-1912), late 19th/early 20th century
The former shown standing defiant with his sword drawn, wearing
windswept robes and apprehending one struggling oni by its arm andsubduing a second oni underfoot; unsigned.
11.2cm (4 3/8in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

429Y Ф
AN IVORY FIGURE OF A DISAPPOINTED RAT CATCHER
By Tsugukiyo, Meiji era (1868-1912), late 19th/early 20th century
Seated, agape with a frustrated expression, one hand and one leg
raised, his other hand pressing down on a trap from which a rat has
just escaped, running over his head, a second rat scampering over
one leg and a third over the man’s right sleeve, signed beneath thetrap Tsugu and Kiyo with two other seals.
8.7cm x 11.1cm (3 3/8in x 4 3/8in).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

430
172 | BONHAMS

431
430Y Ф
AN IVORY OKIMONO FIGURE GROUP
By Joga/Shizumasa, Meiji era (1868-1912),
late 19th/early 20th century
Representing the Shitakiri suzume (Tongue-Cut Sparrow) story,
depicting the poor old woodcutter opening a large plaited-rattan
basket given to him by the sparrow to discover innumerable treasuresinside, including rolls of books, a tied bag of money, gold and silver
coins and all manner of precious objects whilst his wife falls back indisbelief; the base signed in a red-lacquer reserve Jyoga/Shizumasa.
18.5cm x 15cm (7¼in x 5 7/8in).
£1,800 - 2,000
JPY230,000 - 260,000
US$2,200 - 2,500

431Y ФA LARGE IVORY OKIMONOOF THE TAKARABUNE (TREASURE SHIP)
Meiji era (1868-1912), late 19th/early 20th century
The merry Shichifukujin (Seven Gods of Good Fortune), seated,
playing musical instruments, dancing or standing with their respective
attributes on the open deck of an elaborate sailing ship, the single polemast holding two large windblown sails partially pierced and carved
in low relief respectively with a ho-o (phoenix) and a paulownia, a few
scrolls, empty gourds and baskets lying strewn on the balustrade deck,
the hull of simulated wood planks with a cockerel figurehead, somedetails inlaid with coral and hardstones; unsigned.
66cm x 70cm (26in x 27½in).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
Provenance: an English private collection.
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432Y ФAN IVORY OKIMONO GROUP
OF RAKAN AND KARASU TENGUMeiji era (1868-1912), late 19th/early 20th century
The rakan standing dressed in scholar’s robes,
holding a long-handled basket of peaches, a karasu
tengu kneeling beside him carrying a stand on which
rest a koro (incense burner) and portable hibachi(brazier); the base signed in seal script Mune [...].
14cm (5½in) high.
£3,000 - 3,500
JPY380,000 - 450,000
US$3,700 - 4,300

433Y Ф
AN IVORY OKIMONO FIGURE
OF A FISHERMAN AND TWO LARGE OCTOPUSES
By Jomi, Meiji era (18168-1912),
late 19th/early 20th century
Standing and struggling to free himself from one
captured cephalopod’s long curling tentacles,
another large octopus on the rock with its tentacles
entwined around a baton; signed beneathin a red-lacquer reserve Jomi.
12.5cm x 8.8cm (4 7/8in x 3 3/8in).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
432
434Y Ф
AN IVORY, WOOD AND BRONZE OKIMONOGROUP OF A PEASANT GIRL
By Izumi Seijo (1865-1937),
Meiji era (1868-1912) or Taisho era (1912-1926),
late 19th/early 20th century
Shown wearing waraji (straw sandals) with her haircovered in a headscarf, slightly bent over, holding
a basketweave cage in an attempt to catch a
cockerel, chicken and three chicks, the reverseof her obi (sash) signed in an oval reserve Seijo,
fixed on a wood base.
25.5cm x 22.3cm (10in x 8¾in).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
Provenance: private collection, Scottish Borders.
Acquired in Hong Kong in the first half of the 20th
century, thence by descent.
This is the same okimono group described at
the time by The Hong Kong Telegraph, Saturday
October 22nd, 1927 as ‘one of the most perfectivory carvings by the celebrated artist ‘Kaneda’ [sic].
It further stated that the figure was leaving Hong
Kong for England, after having been bought at
Komor and Komors’ Art Exhibition.

433
174 | BONHAMS

434
Izumi Seijo was a noted bronze caster working in Tokyo. Examplesof his sculpture are in the Japanese Imperial Collections, theTokyo University of Fine Arts and the Ashmolean Museum,Oxford.1 For a pair of chickens by the artist see Kindai Nippon
chokoku ichichoryu (Modern Japanese Sculpture: The Glory of theConservative Traditional School), Tokyo, Sannomaru Shozokan(Museum of the Imperial Collections), 1996, p.58.
Notes:
1. For an Ainu fisherman figure cast by the artist
in the Ashmolean Museum, see
http://jameelcentre.ashmolean.org/collection/8/per_page/25/
offset/0/sort_by/date/object/13079

435Y Ф
AN IVORY OKIMONO OF AN OWL
By Ryusai, Meiji era (1868-1912), late 19th/early 20th century
Naturalistically modelled perched on a log, one foot raisedand clutching a frog in its talons, the eyes double-inlaid inpale horn with dark pupils; signed on the base withcarved characters Ryusai.
11cm (4¼in) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

435
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436

437
436Y Ф
THREE STAINED IVORY BIRDS
Meiji era (1868-1912), late 19th/early 20th century
Naturalistically carved in conventional poses, comprising twopheasants, an adult female, signed Mitsuyuki,
9.2cm x 26cm (3 5/8in x 3 5/8in); and its young,unsigned, 6.2cm x 16cm (2 3/8in x 6¼in); the third a
cormorant, unsigned; 7cm x 10.2cm (2¾in x 4in). (3).

437Y Ф
AN IVORY GROUP OF A FAMILY OF CHICKENSBy Hironobu, Meiji era (1868-1912), late 19th/early 20th century
Naturalistically carved, consisting of one cockerel, 9.7cm (3¾in)high; one hen, 7cm (2¾in) high and five newly-hatched chicks,
each approx., 2.6cm (1in) high, their eyes double inlaid in paleamber with horn pupils, their plumage intricately rendered;
the cockerel signed Hironobu. (7).

£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900£3,500 - 5,500
JPY450,000 - 700,000
US$4,300 - 6,800
Provenance: an English private collection.

176 | BONHAMS

(signature)

438Y Ф
AN IVORY MODEL OF A COCKATOO
Attributed to Sakabe Mitsunobu,
Meiji era (1868-1912), late 19th/early 20th century
The bird naturalistically carved perched on one
foot with the other raised and clutching a fruit,
its head lowered and its eyes double-inlaid withshell and dark pupils, signed Mitsunobu; on a
detachable, integral wood stand.
The bird 29.2cm (11½in) high,the stand 34.5cm (13½in) high. (2).
£20,000 - 30,000
JPY2,600,000 - 3,800,000
US$25,000 - 37,000
Sakabe Mitsunobu 坂部光延 (whose real name wasprobably Chugoro 忠五郎) was a member of theTokyo Chokokai (The Tokyo Carvers’ Association) in
Meiji 39 (1906). He exhibited two sculptures of aneagle and pigeon at the 13th competition organizedby the association 1898, both of which received thenito hojo (second-class medal of honour). 1
Notes:
1. The Shoto Museum of Art (ed.), Nihon no zoge
bijutsu: Meiji no zoge chokoku o chushin ni (Historyof Japanese Ivory Carving: Gebori-Okimono andShibayama of Meiji Period), Tokyo, The Shoto
Musuem of Art, 1996, pp. 238-241.

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439

440

441
439Y ФA SMALL IVORY OKIMONO OF A BANANA
Late Meiji (1868-1912) or Taisho era (1912-1926), early 20th century
Naturalistically carved with two strips of skin peeled back to thebrown stalk, revealing the fleshy interior, the skin stained
a pale yellow; unsigned.
10.2cm (4in) long.

440Y Ф
AN IVORY OKIMONO OF A BANANA
Late Meiji (1868-1912) or Taisho era (1912-1926), early 20th century
Naturalistically carved with two strips of skin peeled back to thebrown stalk, revealing the fleshy interior, the skin stained
a pale yellow; unsigned.
12.7cm (5in) long.

£1,200 - 1,500
JPY150,000 - 190,000
US$1,500 - 1,900£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

178 | BONHAMS

441Y ФAN IVORY OKIMONO OF A BANANA
Late Meiji (1868-1912) or Taisho era (1912-1926),
early 20th century
Naturalistically carved with one large strip of skinpeeled back to the stalk, revealing the fleshy interior,the skin stained a pale yellow; unsigned.
17cm (6 5/8in) long.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
442Y Ф
AN IVORY OKIMONO OF A MIKAN(TANGERINE)
Late Meiji (1868-1912) or Taisho era (1912-1926),
early 20th century
Naturalistically carved to represent a quarter peeledtangerine with the pale orange-stained dimpled andcracked skin partially removed to reveal the whiteflesh underneath; unsigned.
3cm x 6.5cm (1 3/16in x 2½in).
£2,500 - 3,000
JPY320,000 - 380,000
US$3,100 - 3,700
443Y Ф
AN IVORY BOX AND COVER
Meiji era (1868-1912), late 19th/early 20th century
The body elaborately carved all around in relief withseveral quails perched on millet stalks or pecking
millet seeds fallen from overhanging millet plants,
beneath a band of cloud, the cover surmounted bya finial in the form of three quails perched on millet
heads and leaves, the eyes inlaid; the base appliedwith three feet in the form of millet heads; unsigned.
11cm x 10.7cm (4 3/8in x 10¼in). (2).

442£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

SHIBAYAMA INLAID AND OTHERINLAID IVORY WORKS OF ART
Various Properties
444Y ФA PAIR OF INLAID AND LACQUERED OSTRICH
EGGS
Meiji era (1868-1912), late 19th/early 20th century
Each hollowed and lacquered in gold hiramaki-e, ivory
and gold takamaki-e with subtle details of shell inlay,
each decorated with two sages in a bamboo grove
on one side and the reverse with cranes, sparrows
and butterflies hovering over windswept autumnal
plants and grasses, each supported on a detachable
reticulated cabriole-legged wood stand; each
unsigned.
Each 24.2cm (9½in) high including stand. (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Illustrated on page 180.

443
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444
445Y Ф
AN INLAID SHELL MAPLE-SHAPED BOX AND
COVER
By Yasumasa, Meiji era (1868-1912), late 19th/
early 20th century
The cover and the sides decorated and inlaid in
mother-of-pearl of various shades and stained ivory
with a mass of tightly clustered and overlapping
flowerheads including hydrangea, morning glories,
cherries, magnolia and chrysanthemums, theinterior and underside of dense nashiji; the interiorof the cover signed with a carved red-lacquer tablet
Yasumasa.
3.5cm x 10.5cm (1 3/8in x 4 1/8in). (2).
£1,200 - 1,800
JPY150,000 - 230,000
US$1,500 - 2,200
Provenance: an English private collection. The oldcollector’s label on the base indicates the name of theoriginal owner Mrs Bennett (née Albinia Rose Gibbs),
her father being Antony Gibbs of Tyntesfield (18411907), the great-grandmother of the current owner.

445
180 | BONHAMS

446 (reverse)

446

446Y Ф
A SHIBAYAMA INLAID IVORY TWO-FOLD TSUITATE(TABLE SCREEN)
Carved by Mitsutoshi with Shibayama inlay by Masaaki,
Meiji era (1868-1912), late 19th/early 20th century
The interior elaborately and typically inlaid in Shibayama style with doves
beside flowering shrubs of chrysanthemums growing over a bamboo
fence, signed in a red-lacquer reserve Masaaki, above a lower frieze
carved with a carp swimming in tumultuous waters, the reverse carved
in shishiaibori (sunk relief) and kebori (plain line engraving) with twoherons wading in a stream and two geese flying above on one side anda heron and kingfisher beside autumnal plants and grasses on the other,signed Mitsutoshi with seal, applied with silvered-metal mounts.
20cm x 23cm (7 7/8in x 9in).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
Provenance: a European private collection.

447
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448 (reverse)

448

447Y Ф
A SILVER, CLOISONNE-ENAMEL AND SHIBYAMA-INLAID
KORO (INCENSE BURNER) AND COVER
By Sadahide, Meiji era (1868-1912), late 19th/early 20th century
The rounded rectangular silver body inset with two lobed ivory panels,
each enclosing a different scene, one depicting cranes standing besideflowering plum and chrysanthemums and the other of an ornate
basket of flowers suspended from branches of cherry blossoms,
the cover, shoulder, sides and foot applied with stylised butterflies
interwoven among formal floral motifs in coloured enamel, the coversurmounted with a finial in the form of a quail beside a stalk of millet,
the sides applied with two silver handles in the form of a flowering iris;
the base signed in a rectangular reserve Sadahide.
14.7cm x 14cm (5¾in x 5½in). (2).

449Y Ф
AN INLAID CIRCULAR WOOD PANEL
By Takagi Hoshin (1885-1970), Taisho (1912-1926)
or Showa era (1926-1989), early 20th century
Decorated with a long-handled basket brimming over with anassortment of fruit including loquats, figs, bananas, apples, oranges,
grapes, pears and pomegranates, an apple, two cherries and twochestnuts fallen on the ground; all applied in high relief of stained
and textured ivory on the natural polished wood ground;signed Hoshin within a square seal, with a storage box.
39cm x 38.5cm (15 5/16in x 15in). (2).

£3,000 - 5,000
JPY380,000 - 640,000
US$3,700 - 6,200
Illustrated on page 181.
YФ448
A SHIBAYAMA INLAID IVORY TWO-FOLD TSUITATE(TABLE SCREEN)
By Joko, Meiji era (1868-1912), late 19th/early 20th century
The interior elaborately and typically inlaid in Shibayama style withassorted shell and stained ivory depicting ornately-arranged displays of
ikebana (flower arrangements), the reverse delicately carved with groups
of monkeys frolicking and stealing ripe grapes, applied with silveredmetal engraved mounts; signed on the reverse Joko with seal Joko.
24.2cm x 25.2cm (9½in x 9 7/8in).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
Provenance: a European private collection.
182 | BONHAMS£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000
Takagi Hoshin (1885-1970), who was said to have worked in Tokyo
was most active during the period 1912 to 1930. He was a memberof the Tokyo Chokokai (Tokyo Ivory Carvers’ Association). 1
Notes:
1. Netsuke Kenkyukai Study Journal 8 (summer 1988), p.9.

449
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450

CERAMICS
Various Properties
450 *AN EARTHENWARE STORAGE VESSEL
Jomon period (10,000-300 BC), first millennium BC
The imposing earthenware body in the form of an inverted truncatedcone, the lower section of the exterior undecorated, the upper section
worked with abstract motifs typical of the late Jomon period, the rim
with two pierced lugs; with wood storage box and stand.
43cm x 36cm (16 7/8 x 14 1/8in). (3).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700451
A DOUBLE GOURD SHAPE KO-KUTANI TOKKURI(SAKE BOTTLE)
Edo period (1615-1868), late 17th century
Decorated in coloured enamels and iron red, the lower section
painted with scattered medallions of unidentified Chinese charactersinterwoven among trailing foliage; the upper body with iron-red
flowerheads on a formal ground.
17.1cm (6 3/4in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
451
184 | BONHAMS

For a pair of tokkuri with a similar design, see Idemitsu Museumof Arts (ed.), Ko-kutani, Tokyo, 2004, p.113, no.75.

452

452 *
A PORCELAIN BLUE AND WHITE
FOUR CABRIOLE-LEGGED SQUARE BOX AND COVER
Meiji era (1868-1912), circa 1900
Painted in underglaze blue with an all-over design of peony heads
interwoven among karakusa (‘Chinese grasses’), the interior of the lid
decorated with a skylark flying beneath a trailing branchof cherry blossoms; unsigned.
14cm x 21.5cm x 21.5cm (5½in x 8½in x 8½in). (2).
£850 - 1,200
JPY110,000 - 150,000
US$1,100 - 1,500453
A STONEWARE BOTTLE
Edo period (1615-1868), probably 18th/19th century
Conceived somewhat in Karatsu style with a white crackled neckand a lustrous black glaze covering the entire bottle and trickling
down over the foot.
31.5cm (12 3/8in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
453
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454

454
A RETICULATED OVOID HIRADO-STYLE BLUE
AND WHITE VASE
Meiji era (1868-1912), early 20th century
Decorated in underglaze blue with a continuous design of irises
on a reticulated simulated basket weave ground, the inner porcelainvase with an underglaze-blue inscription Hirado san 平戸産(Product of Hirado).
30cm (11¾in) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500

186 | BONHAMS

455

455
AN OVOID PORCELAIN VASE
By Makuzu Kozan, Meiji era (1868-1912), late 19th/early 20th cenutry
Of slender baluster form with an incurved rim, painted in tones of green
and white slip with tall stalks of lilies on a green-glazed ground; hebase signed in underglaze blue within a square cartouche
Makuzu Kozan sei.
32cm (12 5/8in) high.
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

(reverse)

456

OTHER SATSUMA EARTHENWARE
Various Properties
456
A SLENDER OVOID SATSUMA VASE
By Kinkozan, Meiji era (1868-1912), late 19th/early 20th century
Decorated in enamels and gilt with two white butterflies hoveringover tall stalks of hollyhock, the neck and foot with an elaborate band
enclosing formalised flowerheads, karakusa (‘Chinese grasses’)and shippo-tsunagi (linked cash), all reserved on a crackled
cream ground; the base signed with impressed seal Kinkozan zo.
24.2cm (9½in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900457
A SMALL SATSUMA VASE
By Kinkozan, Meiji era (1868-1912), late 19th/early 20th century
Decorated in enamels and gilt with a profusion of stalks of purple
and white bearded irises closely clustered all around the bulbous
body, leaving only the neck of the vase unadorned; the base signed
in gilt Kinkozan sei within a circular reserve and with animpressed mark of Kinkozan.
15.2cm (6in) high.
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

457

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458
A FINE AND EXCEPTIONALLY LARGEBALUSTER SATSUMA VASE
By Kinkozan, Meiji era (1868-1912), late 19th/early 20th century
Finely decorated in enamels and gilt with two rectangular goldsprinkled grey enamel panels enclosing two contrasting scenes, one
depicting a peacock strutting with its tail feathers partially on display
beside a peahen nibbling seeds among magnolia shrubs and otherwild flowers, the other panel with shijukara (Japanese tit) in flight and
13 ducks approaching a stream beneath a flowering cherry tree,
the panels framed by stylised butterflies and bands of formalised gilt
188 | BONHAMS

ginkgo leaves, all reserved on a dark-blue ground, the necksimilarly decorated with formalised roundels of birds and flowers
interwoven among shippo-tsunagi (linked-cash) patterns;
the base signed in gilt seal Kinkozan zo.
46cm (18in) high.
£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000

459

459
A PAIR OF SATSUMA VASES
By Kaizan, Meiji era (1868-1912), late 19th/early 20th century
Decorated in enamels and gilt, each vase inset with two large
rectangular panels, one depicting two ladies and a daughter inthe late summer in a garden full of blooming flowers including rose
mallows, lillies, Chinese bellflowers, the other with an outdoor scene
during the maple-viewing-season depicting a group of a mother andtwo daughters in the foreground and other figures strolling along ariver banks with mountains in the distance, reserved on a blue
ground with gilt foliate motifs; each vase signed on the base Kaizan.
25.2cm (10in) high. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500
460
A TALL SATSUMA VASE
By Seikozan, Meiji era (1868-1912), late 19th/early 20th century
Decorated in enamels and gilt, the slender ovoid body painted withan all-over summer scene of groups of sumptuously clad womenfrom noble households accompanied by their servants and children,
beneath trailing fronds of white and purple wisteria, with hills andteahouses in the distance, the neck and foot with bands of geometricmotifs; the base signed with seal Seikozan between the Yasuda
Company trade mark and the Satsuma mon of the Shimazu family.
30.2cm (11 7/8in) high.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
460
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461

462
190 | BONHAMS

461
A CIRCULAR SATSUMA DISH
By Meizan, Meiji era (1868-1912), late 19th/early 20th century
Boldy decorated in enamels and gilt with overlapping plover-shaped
panels enclosing different figure and bird-and-flower scenes including
the Rokkasen (Six Immortal Poets), four drunken shojo dancing arounda large sake jar and Chinese children alternating with geometricmotifs reserved on a simulated net ground, bordered by butterflies
interspersed among swirling brocade; the underside signed in
gilt Meizan within a square reserve.
24.5cm (9 5/8in) diam.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900462
A PAIR OF SATSUMA HANDLED VESSELS AND COVERS
Meiji era (1868-1912), late 19th/early 20th century
Decorated in enamels and gilt, each vessel raised on three tall feet in
the form of a karako (Chinese boy) wearing a lotus hat, each depicting
an almost identical scene of Chinese courtiers and dignitories on one
side and several karako parodying scholarly pursuits of playing musicalinstruments and examining calligraphy scrolls, the integral covers
painted with geometric motifs and surmounted by a finial in
the form of a seated shishi; unsigned.
Each vessel 24cm (9½in) high. (4).

463£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

463
A TRUMPET-SHAPE SATSUMA VASE
By Yabu Meizan, Meiji era (1868-1912), late 19th/early 20th century
Finely decorated in enamels and gilt with a view of the Kinkakuji(Golden Pavilion) in Kyoto, shown rising from a large pond, nestled in amagnificent landscape garden surrounded by pine trees and tiny rockislands, the roof surmounted by a bronze phoenix ornament;
signed in gilt on the base with seal Yabu Meizan.
21.6cm (8½in) high.
£3,000 - 5,000
JPY380,000 - 640,000
US$3,700 - 6,200464
A LARGE PEAR-SHAPE BALUSTER SATSUMA VASE
Meiji era (1868-1912), late 19th/early 20th century
Decorated in enamels and gilt with a tall stalks of chrysanthemums
growing from behind a brushwood fence on one side and a bamboo
gate on the other, reserved on a crackled cream ground, the neckwith a wide band enclosing two roundels depicting auspicious
motifs reserved on a blue ground, applied with two handles
in the form of elephant heads; unsigned.
43cm (16 7/8in) high.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
464
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465

465
ONE CONICAL SATSUMA TEABOWLAND ONE SATSUMA TEAPOT
Meiji era (1868-1912), late 19th/early 20th century
Each decorated in enamels and gilt, the interior of the bowl painted
with a profusion of tightly clustered chrysanthemums and poppies,
the exterior with three wide bands depicting from top to bottom
a procession of Chinese boys dancing or playing, poppies andchrysanthemums and a flock of cranes and sparrows in flight, eachseparated by two narrow bands of stylised flowerheads interspered
among a wave pattern, the base signed Shizan within a rectangularreserve, 7.7cm x 12cm (3in x 4¾in); the circular flattened form teapot
decorated with panels enclosing rakan and attendants, the underside
depicting tennin (Buddhist angels) above a foot of overlapping floral
shaped cartouches depicting geometric motifs, the based signed
Dai Nihon Satsuma-yaki Kozan zo.
7.7cm x 16.5cm (3in x 6½in). (3).
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
466
A SATSUMA BOWL
By Kazan, Meiji era (1868-1912), late 19th/early 20th century
Decorated in enamels and gilt, the interior with a central circular panel
enclosing two overlapping scenes, one depicting an oiran (high ranking
courtesan) and her attendants on the top right, and geisha playing the
koto and shamisen in a samurai household on the other reserved ona ground of peonies, irises, chrysanthemums and poppies growing in
profusion, bordered by narrow bands of stylised minute butterflies
and triangular panels framing geometric patterns and elaborate
pendants, the exterior decorated with similar bands;
the base signed Kazan zo.
6cm x 15.3cm (2 3/8in x 6in).
466
192 | BONHAMS£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

467

467
A SATSUMA TEABOWL
By Kaizan, Meiji era (1868-1912), late 19th/early 20th century
Finely decorated in enamels and gilt, the interior with a central circularpanel depicting three large butterflies fluttering over a honeycombpatterned roundel superimposed over a ground of tightly clusteredstylised minute butterflies surrrounded by a border of suspended
elaborate pendants, the exterior with three oval panels enclosing
different figure scenes inlcuding a shogun and retainers and a young
samurai accompanied by servants in front of a teahouse, all reserved
on a ground depicting a profusion of seasonal flowers; the basesigned in gilt Kaizan sei within a square reserve.
7.7cm x 11.2cm (3in x 4 3/8in).
£1,500 - 1,800
JPY190,000 - 230,000
US$1,900 - 2,200

468

468
A SATSUMA TEABOWL
By Kaizan, Meiji era (1868-1912), late 19th/early 20th century
Finely painted in enamels and gilt, the interior decorated in the centre
with a sumptuously adorned white elephant standing among Shinto
buildings and carrying several karako (Chinese boys) on its howdahcovered back whilst numerous other children clamber up and gather
around its feet, surrounded by a band of tightly clustered seasonal
flowers including peonies, chrysanthemum and lilies; the exterior
decorated with four circular panels, two depicting karako engaged infestival activities and two of summer and snow landscape scenes
above vertical bands enclosing assorted brocade and geometricpatterns; signed Kaizan sei on the base.
6.2cm x 12.2cm (2 7/8in x 4¾in).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
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CLOISONNÉ ENAMEL WORKS OF ART
Various Properties
469 TPA LARGE CLOISONNÉ ENAMEL CHARGER
Meiji era (1868-1912), late 19th/early 20th century
Raised on a short circular foot, intricately worked in silver and gilt wirewith a central circular panel enclosing an eagle perched on a flowering
maple tree with its wings outstretched eyeing its small prey fluttering
amongst the branches below, bordered by overlapping fan-shaped
and other zig-zag-shaped cartouches depicting a variety of stylised
seasonal flowers, plants and floral crests including paulownia and194 | BONHAMS

hollyhock, some of the panels flecked with aventurine, unsigned;
the underside worked in gilt wire with a repeated whorl motif.
76cm (29 15/16in) diam.
Provenance: a European private collection.
£3,000 - 5,000
JPY380,000 - 640,000
US$3,700 - 6,200

470 TPA LARGE CLOISONNÉ ENAMEL CHARGER
Meiji era (1868-1912), late 19th/early 20th century
Raised on a short circular foot, intricately worked with silver and gilt
wire with a group of tanchozuru (red-crested cranes), three in flight andthree standing, 11 hojiro (meadow buntings) fluttering among entwined
branches of flowering cherries and lillies, bordered by a narrow band
depicting hagoromo (feathery robes) alluding to the subject of a No playof the same title, the underside with six lobed panels enclosing

biwa (loquats), botan (peonies) and fuyo (rose mallows) surrounding acentral circular panel on the foot depicting a ho-o (phoenix); unsigned.
107.3cm (42¼in) diam.
Provenance: a European private collection.
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
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471

471 *
TWO RECTANGULAR CLOISONNÉENAMEL BOXES AND COVERS
Attributed to Hayashi Tanigoro,
Taisho era (1912-1926), circa 1912-17
Each worked in silver wire with a matching designof a central formal foliate motif on respectively apink and green ground, the rims of each box
applied in silver, each box signed in silver wireon the underside within a rectangular reserve
Yuho/Ariyoshi; with wood storage box.
Each box 3.6cm x 10cm x 8.7cm(1 3/8in x 4in x 3 3/8in). (5).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
A very similar blue enamel box with the same markalleged to be that of Hayashi Tanigoro is illustratedby Lawrence A. Coben and Dorothy C. Ferster,
Japanese Cloisonné: History, Technique, andAppreciation, New York, Weatherhill, 1982,
p.99 and p.209, respectively.

472

196 | BONHAMS

472
A GLOBULAR CLOISONNÉ ENAMEL
KORO (INCENSE BURNER) AND COVER
Meiji era (1868-1912), late 19th/early 20th century
Raised on three short supports and decorated witheight radiating shield-shaped panels in opaqueand translucent polychrome enamels incorporating
flecks of aventurine with stylised birds, butterflies
and a phoenix among seasonal plants and flowers
including magnolia, plum, chysanthemums andpoenies on a black ground similarly worked withfloral motifs, the cover surmounted by a gilt knop
in the form of a lotus bud; unsigned.
18.5cm (7¼in) high. (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

(reverse)

473
A LARGE CLOISONNÉ ENAMEL KORO
(INCENSE BURNER) AND COVER
Nagoya, Meiji era (1868-1912), late 19th/early 20th century
Supported on three tall tapering feet and intricatedly worked in silver wirewith large shaped panels enclosing different motifs, one depicting a pair ofconfronting dragons holding a jewel on one side and a pair of ho-o (phoenix)
on the other, reserved on a mauve ground of roundels of stylised grasses
and birds-and-flowers, the cover decorated with two lobed panels enclosing
respectively butteflies and a formal arangement of chrysanthemums andsurmounted by a large finial in the form of a large bud, the legs,
handles and knop flecked with aventurine: unsigned.
50.5cm (19 7/8in). (2).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

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474
(reverse)

474
A CLOISONNÉ ENAMEL KORO
(INCENSE BURNER) AND COVER
Nagoya, Meiji era (1868-1912), late 19th/early 20th century
The squat rectangular almost spherical body worked in gilt wirewith four lobed panels enclosing a ho-o (phoenix) on one side and awrithing dragon on the other, the smaller side panels depicting eacha mythological creature, the cover decorated with stylised cherries,
peonies, morning glories and chrysanthemums and surmounted
by a knop in the form of a seated Amida Nyorai; unsigned.
12.3cm x 12.5cm (4 7/8in x 4 7/8in). (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900475
A CLOISONNÉ ENAMEL COFFEE POT AND COVER
Meiji era (1868-1912), late 19th/early 20th century
Constructed from a Middle Eastern shape, worked entirely in gilt
wire with an all-over design of the takaramono (treasures associatedwith the Seven Gods of Good Fortune) depicting auspicious magicalobjects associated with the Shichifukujin (Seven Gods of Good
Fortune) comprising Daikoku’s hammer, the hat and raincoat ofinvisibility, a feathered cape, wish-granting jewels, the purse of
inexhaustible riches and scrolls interwoven among roundels of
seasonal flowers including hollyhock, peonies, cherries, irises andplum, reserved on a whorl patterned ground, the spout and coversimiarly decorated, the ring handle with white and pink cherry
blossoms; unsigned.
24.2cm (9½in) high. (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900475
198 | BONHAMS476
A SMALL CLOISONNÉ ENAMEL MINIATURE OVOID VASE
WITH EN-SUITE COVER
By Namikawa Yasuyuki (1845-1927), Meiji era (1868-1912),
late 19th/early 20th century
Intricately worked in silver and gold wire with an all-over design ofoverlapping stylised foliate roundels and scrolling floral vines scatteredover four differently coloured alternating vertical panels, the neck andfoot with matching bands of arabesque motifs, the shoulder withformalised buds, the domed cover decorated with repeat stylised
floral motifs and surmounted by a finial in the form of a gilt-metalchrysanthemum bud, the base signed with chiselled cursive characterson a silver plaque Kyoto Namikawa, applied with a gold rim and foot.
11.5cm (4½in) high. (2).
£6,000 - 8,000
JPY770,000 - 1,000,000
US$7,400 - 9,900

Born in 1845 to a rural samurai family, Namikawa Yasuyuki started his
cloisonné business in Kyoto in 1873 and by the 1880s was successful
enough to build, and then extend and upgrade, a large compoundthat eventually included workshops housing 20 or more employees, ashowroom, a family residence and a garden with a fishpond. He used
these facilities to create a carefully orchestrated private retail experiencethat was described in admiring detail by American and European travel
writers, selling many of his finest wares directly to private clients, as wellas carrying out imperial commissions and participating in international
expositions. Between 1876 and 1904 he won 11 overseas awards
and in 1896, along with his unrelated namesake the Tokyo enameler
Namikawa Sosuke (the two family names are written with different
characters), was among the first individuals to be appointed to theranks of Teishitsu Gigeiin (Artist-Craftsmen to the Imperial Household).
Such was his reputation that at the 1900 Paris Exposition Universelle
his wares were snapped up the moment they were unpacked and soldfor up to ten times the amount anticipated. For a detailed biographyof Namikawa Yasuyuki see Frederic T. Schneider, The Art of Japanese
Cloisonné Enamel: History, Techniques and Artists, 1600 to the Present,
Jefferson NC, McFarland, 2010, pp.86–87.

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477

200 | BONHAMS

478

477
A PAIR OF CLOISONNÉ ENAMELOVOID VASES
By Hayashi Kodenji, Meiji era (1868-1912),
late 19th/early 20th century
Each intricately worked in silver wire of varying gauge
and forming a mirror i-image of the other, each with
two red-crested cranes foraging for food beside stemsof bamboo on one side and a solitary standing craneon the reverse, their feathers delicately worked in
sculpted and tapered wire, all reserved on a midnightblue ground; each vase applied with gilt metal rims andfeet, the neck and foot with a narrow band of stylised
sprays of white buds, each vase signed on the base
Nagoya Hayashi saku with the stamped lozenge-sealof Hayashi Kodenji.
Each 10.5cm (4 1/8in) high. (2).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
Provenance: an English private collection.
478
A LARGE BALUSTER CLOISONNÉENAMEL VASE
Meiji era (1868-1912), late 19th/early 20th century
Finely worked in silver wire with a pair of pheasantsperched on a rock surrounded by a profusion ofblooming peony shrubs, the neck and foot witha narrow band of repeated formal floral motifs, allreserved on a dark blue ground, applied with silver
rims, the base signed with an unidentified silver mark;with a separate wood stand.
39cm (15 5/16in) high. (2).
£2,500 - 3,500
JPY320,000 - 450,000
US$3,100 - 4,300
479
A HEXAGONAL, SLENDER WAISTED FORM
CLOISONNÉ ENAMEL VASE
By Hayashi Tanigoro, late Meiji (1868-1912)
or Taisho (1912-1926) era, early 20th century
Finely worked in silver wire of varying gauge andtranslucent enamel, decorated entirely with peacockfeathers on a turquoise ground, signed on the base
Hayashi Tani within a rectangular reserve; with anunassociated separate wood stand.
33.8cm (13¼in) high. (2).
£10,000 - 15,000
JPY1,300,000 - 1,900,000
US$12,000 - 19,000
This appealing Art Nouveau peacock motif seems
to have been reproduced by at least two different
workshops; see a pair by Hayashi Tanigoro signedwith seal Hayashi Tani (as on this vase), sold in theserooms, 12 November 2008, lot 491; another pair ofalmost identical vases attributed to Kawade Shibataro,
bearing the same silver wire mon on the base, sold at
Bonhams New York, September 14 2016, lot 193 andfor a second pair attributed to Kawade Shibataro, soldat Christie’s New York, March 20 2013, lot 681. See
also Haydn Williams, Enamels of the World 1700-2000- The Khalili Collections, London, The Family Trust,
2009, colour pl.121, pp.184-185 and p.428, cat. 121.

479
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480

481

INLAID IRON WORKS OF ART
Various Properties
480 *AN INLAID TETSUBIN (IRON KETTLE) WITH BRONZE COVER
Meiji era (1868-1912), late 19th/early 20th century
Of squat rounded form, the iron body worked in silver and gold relief
inlay with an exotic long-tailed bird flying towards a cherry tree on
one side and a second bird and two butterflies hovering over a trailingbranch of cherry on the other, the overhead iron handle similarly inlaid
with wisps of cloud, the bronze cover surmounted by a knop in theform of a bud attached to a pierced cherry-blossom base; unsigned.
11.2cm (4 3/8in) high excluding handle. (2).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700481
AN INLAID TETSUBIN (IRON KETTLE) WITH BRONZE COVER
By Seiryudo, Meiji era (1868-1912), late 19th/early 20th century
The tapering globular form decorated in silver and gold flat relief
inlay with a stylised butterfly hovering over sprays of shukaido (hardy
begonia) on one side and a clump of flowering sumire (violet) on theother, the iron overhead lobed handle similarly inlaid in silver flat inlay
with a rain dragon; the inside of the mottled bronze cover signed withchiselled cursive characters Seiryudo zo and surmounted
by a knop in the form of a stylised bud.
12.2cm (4¾in) high excluding handle. (2).

482
202 | BONHAMS£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

(reverse)

482
AN INLAID TETSUBIN (IRON KETTLE) WITH BRONZE COVER
By Ryubundo, Meiji era (1868-1912), late 19th/early 20th century
The cylindrical body cast in low relief and worked in silver and gold
flat relief inlay with an oarsman rowing towards a teahouse shelteredbeneath the branches of a pine tree on one side and other boats
shown sailing in the distance on the reverse, the overhead lobed ironhandle similarly inlaid with a dragonfly and a butterfly hovering overautumnal flowers and suspended from two handles, one in the form ofa bird in flight, the bronze cover surmounted by a knop in the form of
a bud inlaid with a phoenix among wisps of clouds attached to apierced silver stylised cherry-blossom base; the inside of the lid
signed with chiselled characters Ryubundo zo.
12.7cm (5in) high excluding handle. (2).
£3,000 - 3,500
JPY380,000 - 450,000
US$3,700 - 4,300

483

483
AN INLAID TETSUBIN (IRON KETTLE) WITH BRONZE COVER
By Kiryudo, Meiji era (1868-1912), late 19th/early 20th century
The cylindrincal body textured and caset with a a lone traveller walking
in the rain on one side and an oarsman rowing towards a boathousesheltered beneath a pine tree growing on the shore, with details
worked in silver and gold flat-relief inlay, the overhead iron handle
similarly inlaid with trees and hills, the bronze cover signed inchiselled cursive characters Kiryudo zo and surmounted bya knop in the form of a stylised bud.
12.5cm (4 7/8in) high excluding handle. (2).
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000

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484
486

485

484
A MINIATURE HEXAGAONAL INLAID IRON BOX AND COVER
By Komai of Kyoto, Meiji era (1868-1912), late 19th/early 20th century
Worked throughout in the typical Komai style of silver and gold overlay,
the cover with a pavilion nestled between pine trees bordered bysides with a narrow band of florettes, the hexagonal sides of the box
with a single stylised blossom over a repeated pattern of alternatinggeometric motifs; the base signed in gold low relief Nihonkoku
Kyoto no ju Komai sei.
1.5cm x 4.7cm x 5cm (5/8in x 1 5/8in x 2in). (2).
£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500

204 | BONHAMS485
A SMALL LOBED INLAID IRON DISH
By Seki, Komai style, Kyoto, Meiji era (1868-1912),
late 19th/early 20th century
Supported on a low circular foot, worked throughout in the typical
Komai style of silver and gold overlay with a central panel of a clumpsof chrysanthemums surrounded by floral, round, butterfly and plovershaped panels enclosing seasonal sprays of flowers, all reserved ona ground of repeated fragmented rinzu (textile-weave) and geometrichanabishi (flowers of diamond shape) patterns, the underside signed
Saikyo Seki sei (made by Seki of Kyoto).
20.1cm (7 15/16in) diam.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

486
A MINIATURE INLAID IRON BOX AND COVER
Komai Style, Kyoto, Meiji era (1868-1912),
late 19th/early 20th century
Worked in typical gold and silver overlay, the coverdecorated with a crane perched on a pine tree withfive other cranes in flight above Mount Fuji seen in the
distance, the sides of the cover inlaid with a narrow
band of florets, the interior of the box carved in
katakiribori (engraving with an angled chisel emulatingbrushstrokes) and kebori (plain line engraving) withthree sailing boats and a range of mountains in the
distance, the sides of the box inlaid with fruiting vine;
the underside stamped with an unread mark withina square seal beneath a dragonfly.
2.6cm x 4.6cm x 4.6cm (1in x 1¾in x 1¾in). (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900487
AN INLAID IRON LARGE BALUSTER VASE
Attributed to the Komai workshop of Kyoto,
Meiji era (1868-1912), late 19th/early 20th century
The body overlaid with two elaborate
gold-outlined panels, each decorated in goldand silver chiselled relief inlay and enclosing a
different rural scene, one with depictions of thevarious stages of silk production, showing a woman
in the lower foreground hand-spinning thread from
cocoons whilst her two companions transfer thegrown silkworms to bamboo mats to feed them, a
man in the background placing bundles of woven
silk on a wheelbarrow; the other panel showing avibrant spring scene of a waterfall cascading down
rocks into a river on the banks of which grow irises
and dandelions, a ladder propped against a tree inthe foreground and plovers in flight over the rising sun
in the distance, reserved on a ground of repeateddiaper, fragmented rinzu (textile-weave), geometricand foliate motifs decorated in silver overlay, the neckwith triangular lappets enclosing stylised flower heads
intewoven among karakusa (‘Chinese grasses’),the upper rim with a band of key-fret pattern worked
in gold overlay; unsigned.
42.2cm (16½in) high.

487(reverse)£5,000 - 6,000
JPY640,000 - 770,000
US$6,200 - 7,400
Provenance: a European private collection, acquired
between 1960 and 1970, thence by descent.
488 *AN OCTAGONAL IRON BOX AND COVER
By Yamaguchi Kazuteru/Issho (1876-circa 1930),
late Meiji (1868-1912) or Taisho era (1912-1926),
late 19th/early 20th century
The cover decorated in varying degrees of relief
with a writhing three-clawed dragon whose body ispartially envelopped in swirling clouds, the interior
lined in silver, the underside signed with chiselledcharacters Kazuteru/Issho koku with gold seal
Kazuteru/Issho. 6.3cm x 12.2cm (2½in x 4¾in). (2).

488

£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
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489

489
A ROUNDED RECTANGULAR INLAID IRON TEBAKO(BOX FOR ACCESSORIES) AND COVER
Meiji era (1868-1912), late 19th/early 20th century
Decorated with a trailing branch of flowering yamazukura(mountain cherry) draping diagonally across the slightly domed
cover, the design extending over all the sides of the box,
all worked in chiselled flat relief of silver and gold, the interior
lined in silver, the rims applied in silver; unsigned.
11cm x 21.5cm x 17.5cm (4 3/8in x 8½in x 6 7/8in). (2).
£5,500 - 6,000
JPY700,000 - 770,000
US$6,800 - 7,400490
AN INLAID RECTANGULAR IRON BOX AND COVER
By Mitsusada, Meiji era (1868-1912),
late 19th/early 20th century
The cover applied in coloisonné enamel with a large carp swimming
just beneath the surface besides two stalks of kohone (spatterdock),
two aquatic plants worked in gilt, silver and shakudo relief
floating on the water; signed with chiselled characters
Mitsusada with gold seal.
3.8cm x 12.1cm x 8.2cm (1½in x 4¾in x 3¼in). (2).
£3,500 - 4,500
JPY450,000 - 580,000
US$4,300 - 5,600

490

491
AN INLAID CIRCULAR IRON DISH
By Kimura, Kyoto, Meiji era (1868-1912), late 19th/early 20th century
Worked in typical gold and silver overlay, the centre with a floriform
silver-edged panel enclosing a gissha (ox-drawn courtly carriage)
stationed beneath flowering trailing branches of cherry blossoms,
beside a large taiko drum surmounted by flames visible from behinda jinmaku (camp curtain) bordered by eight assorted shaped panels
enclosing a torikabuto (cap) and other caps associated with agagaku (a traditional imperial music and dance performance); signedin two rounded rectangular reserves Kyoto and Kimura with a kao.
24.1cm (9½in) diam.
£3,000 - 3,500
JPY380,000 - 450,000
US$3,700 - 4,300

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491

492

492
TWO CIRCULAR SENTOKU (BRASS) LACQUERED
AND ETCHED PLATESBy Okuda, Kyoto, Meiji era (1868-1912), late 19th/early 20th century
Comprising one with a central round panel enclosing the Ginkakuji(Temple of the Silver Pavilion) in Kyoto, bordered by eight roundedrectangular panels depicting geometric motifs, the second plate
similarly etched and laquered with a cockerel and hen perched ona pine tree in the centre bordered by stylised bird crests on a formal
foliage ground; each signed on the base Kyoto Okuda sei.
Each plate 30.5cm (12in) diam. (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
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493

SILVER AND INLAID SILVER WORKS OF ART
Various Properties
493 *A PAIR OF INLAID OVOID SILVER VASES
By Kako for the Hattori Company, Meiji (1868-1912)
or Taisho (1912-1926) era, late 19th/early 20th century
Each vase delicately engraved with discrete details inlaid in copperand gilt flat relief, one vase decorated with a sparrow perched among
stalks of flowering yabukogi (coralberries) on one end of a sozu
(bamboo segmented tube used as a water fountain) with the water
shown trickling down, the other vase depicting stalks of daffodils, theside of each vase signed with chiselled characters Kako sen with seal,
the base of each vase stamped Jungin Hattori sei (Real silver,
made by Hattori); with a wood storage box.
Each vase 24.2cm (9½in) high. (3).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900494
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494 *A SILVER KORO (INCENSE BURNER)
AND COVER IN THE FORM OF A HAWK
Meiji era (1868-1912), late 19th/early 20th century
Naturalistically chiselled, modelled as a hawk, standing with its headraised and alert, the bird’s beak of shakudo, its eyes double inlaid ingilt with shakudo pupils, a section of its back, pierced and removable
forming the cover, unsigned; with wood tomobako storage box
inscribed Nanryo taka koro (A refined silver incense burner of a hawk).
18.5cm x 23.5cm (7¼in x 9¼in). (3).
£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000

495(reverse)

495 *AN INLAID RECTANGULAR SILVER PLAQUE
By Teruaki, Meiji era (1868-1912), late 19th/early 20th century
Carved in varying degrees of relief and decorated in inlay of copper,
gilt and shibuichi relief with a three-clawed dragon partially envelopedin swirling clouds clutching a jewel on one side confronting a snarlingtiger on the reverse, signed with chiselled characters Teruaki
with seal Teru; within a hardwood frame set on a detachable
hardwood stand; unsigned.
15.2cm x 17.5cm (6in x 6 7/8in) including stand. (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
496 *A SILVER JIZAI (ARTICULATED) OKIMONOOF A KAMAKIRI (MANTIS)By Ejiro Kawamura, Taisho (1912-1926)
or Showa era (1926-1989), 20th century
Realistically rendered, the leg joints, head, wings and antennae
intricately constructed of smoothly moving parts, signed Kanenaga
saku; with wood tomobako storage box titled Kamakiri (mantis),the inside of the lid inscribed Gifuken Sekishi Fujiwara Kanenaga(Fujiwara Kanenaga, Seki City, Gifu Prefecture) with seal.
9.7cm (3¾in) long. (2).

496£600 - 800
JPY77,000 - 100,000
US$740 - 990
Fujiwara Kanenaga (dates unknown) was the art-name of Eijiro
Kawamura who demonstrated a talent for making pocket knives andmetal sculpture and succeeded in the edged-tool production of thefirst chromium steel in Japan; see http://ohmura-study.net/212.html#2

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497

498
210 | BONHAMSBRONZE AND INLAID BRONZE VESSELS
Property from a European Private Collection(Lots 497 - 499)
497
FOUR BRONZE VASES
Edo period (1615-1868) or Meiji era (1868-1912), mid-19th century
The first of baluster form with a short everted neck, applied in highrelief with three chidori (dotterels or plovers) flying in an upward
diagonal formation over a highly stylised arrangement of waves,signed on the base with chiselled characters Komin, 24.2cm (9½in);the second of slender form with a bulbous upper body, decorated
with bamboo leaves in low relief and applied with two ring handles in
the form of simulated naturally curved bamboo sections, unsigned,
21.5cm (8½in) high; the third a pear-shaped vase applied in high relief
on one side with one monkey whose exaggeratedly long arm clings
to the rim as he reaches for the reflected moon in the water, the basesigned with two chiselled characters Nissho, 27.5cm (10¾in) high; thefourth of slender form with a long neck, the front applied in low relief
with two frolicking foxes on a mottled green body, the base signedwith two chiselled characters Meiko, 39.5cm (15.5cm) high. (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

498
A PAIR OF INLAID BRONZE ROUNDED-RECTANGULAR VASES
Meiji era (1868-1912), late 19th/early 20th century
Each vase decorated on both sides in gilt and relief inlay of various
metals and katakiri-bori (engraving with an angled chisel emulatingbrushstrokes) with an almost identical design of sparrows perched
or in flight among flowering sprays of fuyo (rose mallow) and tsubaki(camellia), the reverse of both vases with three swallows in flightbeneath trailing wisteria; both vases unsigned.
Each vase 23.7cm (9 3/8in) high. (2).
£1,500 - 1,800
JPY190,000 - 230,000
US$1,900 - 2,200

499
FOUR BRONZE VASES
Meiji era (1868-1912), late 19th/early 20th century
The first cast with Art-Nouveau inspiration, the slender, elongated vaseapplied in high relief with an all-over design of bundles of tied irises,
the base signed Seiko, 31.1cm (12¼in) high; the second ovoid vasesimilarly decorated in relief with irises on the mottled reddish-brown
body, unsigned, 24.2cm (9½in) high; the third of slender form, carved
in low relief with sheaves of windswept rice, signed on the base within
an oval reserve Ryoun, 28.2cm (11in) high; the fourth of elongatedform supported on a splayed foot, carved in relief with flowering stalksof kikyo (Chinese bellflowers) and grasses, signed on the base withchiselled characters Joya saku, 28.7cm (11¼in) high. (4).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

499

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500

212 | BONHAMS

501

Various Properties
500
A PAIR OF LARGE BRONZE KORO
(INCENSE BURNERS) AND COVERSBy Hasegawa Harusada (1800-1883),
Meiji era (1868-1912), circa 1875
Each standing on a base consisting of a circular ring surmounted by
openwork-cast birds and budding plum trees, the bodies cast withpeacocks, hawks, and ho-o birds with rushing torrents and pine trees,
the lids with a band of openwork floral ornament and a formalised ringof clouds surmounted by a male and female ho-o bird on a rock fromwhich small kiri (paulownia) trees grow; with cast signature insideeach vessel Dai Nihon Osaka Hasegawa Harusada saku.
Each 71cm (28in) high. (4).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700
This artist, recorded for a reclining bronze figure of a Chinese sage inthe British Museum, was already 68 years of age at the dawn of the
Meiji era but appears to have made rapid changes to his productionin order to meet the new demands of the global marketplace.
Dramatically cast bronzes of this type were especially highly praised
at international exhibitions such as the Vienna Weltausstellung (World
Exposition) and the Philadelphia Centennial International Exhibitionof 1876, where they were described as ‘the most marvelous objects
here’ (see William Hosley, The Japan Idea: Art and Life in Victorian
America, University of Chicago Press, 1990, p.55).
501 *A LARGE OVOID BRONZE VASE
By Takano Ryoichi (born 1907), Showa era (1926-1989), 20th century
The front of the vase boldly decorated in low relief with an eagle perched
on a gnarled pine branch, the base of the vase signed Shizan within arectangular reserve; with wood tomobako storage box, the outside ofthe lid inscribed Shojo no washi chudo kabin (Cast bronze flower
vase with an eagle perched on a pine branch) the inside of thelid signed Shizan saku with seal Takano Ryoichi.
35.7cm (14in) high. (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900
Shizan was the go (art name) for Takano Ryoichi who lived in Takaoka,
Toyama Prefecture. He started his career at the beginning of the
Showa era and won several prizes in craft exhibitions.
502 TPA TALL BRONZE OVOID KORO
(INCENSE BURNER) AND COVER
Meiji era (1868-1912), late 19th/early 20th century
Constructed in four separate sections, the body cast in high relief
with two large lobed panels, one with a ho-o (phoenix), shishi and a
kingfisher perched on a flowering plum branch and a sparrow above
a stream on the other, reserved on a ground cast in low relief withrepeated archaic patterns, the side applied with two handles in theform of two three-clawed dragons, the neck partially pierced andcarved with bands of formalised clouds above a band of key fret, thecover cast with a hallow rock surmounted by a finial in the form of aneagle with its wings outspread, preying upon a pheasant, the wholeraised on a multi-tiered squat globular supports on an elaborate footin the form of a coiled dragon emerging from foaming waves, in turnraised on a large circular base carved with lashing waves; unsigned.
190cm (74¾in) high. (4).
£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700

502

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503

503
A SLENDER CYLINDRICAL INLAID BRONZE VASE
By Hidemitsu, Meiji era (1868-1912), late 19th/early 20th century
Decorated with a solitary crane standing on a wave-lashed rockworked in high relief chiselled inlay of silver, bronze, shibuichi
and copper; the base signed within a square reserve in seal script
Hidemitsu kansei.
24.5cm (9 5/8in) high.
£1,800 - 2,200
JPY230,000 - 280,000
US$2,200 - 2,700504 *AN INLAID BALUSTER BRONZE VASE
Made by a collaboration between Toyokawa Mitsunaga II (1851-1923)
and Miyaji Kazuo (active Meiji and Taisho era), Meiji (1868-1912) or
Taisho (1912-1926) era, early 20th century
Decorated in gold, shakudo and copper relief inlay and carved in low relief
with a pet chin dog wearing a ruff collar and biting the tasselled cord of a

214 | BONHAMS

504

buriburi (a child’s New Year octagonal mallet-shaped toy), the reverse of thevase signed with chiselled characters Mitsunaga hoto Kazuo koku (carved
by Kazuo and refined by Mitsunaga) and in flat gold inlay Mitsunaga within
an oval reserve; with wood tomobako storage box inscribed Seido kabinchin no zu (Bronze vase with a chin dog design), the inside of the lid signed
Nanju-o Mitsunaga (old man, aged 70) with seal Toyokawa and Kazuo koku
(carved by Kazuo) with seal (unread).
24.8cm (9¾in) high. (2).
£1,500 - 1,800
JPY190,000 - 230,000
US$1,900 - 2,200
For Toyokawa Mitsunaga II, please refer to lot 349.
Miyaji Kazuo is recorded in Wakayama Takeshi 若山猛, Kinko jiten 金工事典 (A Dictionary of Metalworkers), Tokyo, Token Shunju Shinbunsha
刀剣春秋新聞社, 1999, p.94, as being a nunome inlay artist and pupilof Kajima Ikkoku II as well as of Toyokawa Mitsunaga. He was active inTokyo during the Meiji and Taisho eras.

505

505
A PAIR OF INLAID BALUSTER BRONZE VASES
By Miyabe Atsuyoshi, Meiji era (1868-1912),
late 19th/early 20th century
Each worked in silver, gold, bronze and copper relief inlay, forming acomplementary autumnal moonlit scene, one vase decorated witha solitary eagle clutching a captured prey in its talons, perched ona snow-laden branch of plum with sparrows in flight all around, thefull moon partially behind clouds in the background, the shoulders ofeach vase carved in low relief with a rain dragon, the base of one vasesigned with chiselled characters Kyoto Ikkodo Atsuyoshi with a kao,
the other signed Kyoto Miyabe Atsuyoshi with a kao.
Each vase 40cm (15¾in) high. (2).

Miyabe Atsuyoshi is recorded in Wakayama Takeshi 若山猛, Kinko
jiten 金工事典 (Dictionary of Metalworkers), Tokyo, Token Shunju
Shinbunsha 刀剣春秋新聞社, 1999, p.1141, as a maker of swordfittings and a pupil of Shinoyama Tokuoki (1813-1891), active in Kyoto
during the late Edo period and early Meiji era.

£3,000 - 4,000
JPY380,000 - 510,000
US$3,700 - 5,000
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506
506
A CIRCULAR GILT BRONZE PANEL
By the Miyao Eisuke Company, Yokohama,
Meiji era (1868-1912), late 19th/early 20th century
Decorated in chiselled low relief of bronze, copper and gilt with ahumorous scene of a rakan seated on a rocky ledge overlooking awaterfall cascading from a mountainous landscape, holding a needle
in his right hand as he sews his garment; signed on the rightwith chiselled characters Miyao sei.
40cm (15¾in) diam.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200507
AN INLAID BRONZE BOX AND COVER
The metalwork inlay by Genryusai Toshiro for the Miyao Eisuke Company,
Meiji era (1868-1912), late 19th/early 20th century
The cover decorated with two sanbaso dancers in front of young
saplings welcoming in the New Year, each figure worked in chiselled low
relief of bronze, copper, silver and gold, signed with chiselled characters
Genryusai Toshihiro; the sides of the box engraved with instruments
associated with gagaku (a traditional imperial music and dance
performance) consisting of a taiko drum surmounted by flames visible
from behind a manmaku (outdoor curtain) a sho (vertical panpipes) anda torikabuto (cap), the base signed with chiselled characters Miyao sei.
4.7cm x 12.5cm x 11cm (1¾in x 4 7/8in x 4 5/8in). (2).
507

216 | BONHAMS

Provenance: a European private collection.
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

508
AN IMPRESSIVE PAIR OF INLAID BRONZE VASES
By Fujibayashi Minechika, Meiji era (1868-1912), late 19th century
Each vase constructed of five detachable sections, of typical early-Meiji
form, the tall body resting on a separate revolving dais supported by threecrouching oni (demons), the base, mouth and shoulder with extensive
flat silver inlay of formal, floral and geometric patterns, the edges of therevolving plate decorated with gold, shibuichi and silver relief seashells
and seaweed, the long handles formed as hares swimming over waves,the bodies lavishly decorated in high-relief inlay of gold, silver, shakudo
and shibuichi with four distinct scenes (two on each vase) within a sunken
panel: (1) Kajikawa Kagesue racing across the Uji River (2) A lady in court
dress standing on the seashore holding a shaku (sceptre) aloft (3) The
poetess Ono no Komachi washing a book with water to show that verses
have been fraudulently added to the text (4) A mounted samurai generalon the seashore holding his fan aloft; each vase signed on the base
Dainihon Etchu no ju Fujibayashi Minechika (the second character almost
obliterated by a hole drilled to convert the vase to electric light).
Each vase 37.5cm (14¾in) high. (10).

£8,000 - 12,000
JPY1,000,000 - 1,500,000
US$9,900 - 15,000
Fujibayashi Minechika collaborated with Marunaka Magohei and
Kanamori Soshichi (1821-1892), two other celebrated metal artists
and craft entrepreneurs active in Takaoka, Etchu Province and Kaga
Province (present-day Toyama and Ishikawa Prefecture), on a vasethat was exhibited at the first Naikoku Kangyo Hakurankai (National
Industrial Exhibition) in 1877 and is now preserved in Takaoka Art
Museum, see http://bunka.nii.ac.jp/heritages/detail/209828.

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509

510

511
218 | BONHAMS

512
509
A CIRCULAR INLAID BRONZE DISH
Meiji era (1868-1912), late 19th/early 20th century
Decorated in silver, gilt and shakudo high relief inlay and carved in
katakiribori (engraving with an angled chisel emulating brushstrokes)
with a solitary butterfly hovering over stalks of chrysanthemums
supported by tied bamboo canes, one small bird perched at theend of one bamboo cane; unsigned.
27cm (10 5/8in) diam.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200510
AN INLAID BRONZE CIRCULAR DISH
By Tomie, Meiji era (1868-1912), late 19th/early 20th century
Decorated in gilt and shakudo takazogan with a dragon and two rakan
in a garden with revellers enjoying a picnic and peasants at work in the
background, with details engraved in katakiribori; the underside signed
Dai Nihon Tomie sei.
33cm (13in) diam.
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200511
AN INLAID CIRCULAR BRONZE TRAY
Meiji era (1868-1912), late 19th/early 20th century
The centre bronze round panel decorated with a hototogisu (cuckoo)
perched on twisting uri (squash) vine, a butterfly hovering over aflowering clump of mukuge (hibicus), worked in chiselled high relief ofsilver, gilt and bronze, with details carved in kebori (plain line engraving)surrounded by a simulated rattan border, finely woven ingozame-ami (mat plaiting); unsigned.
27.7cm (10 7/8in) diam.
£1,500 - 1,800
JPY190,000 - 230,000
US$1,900 - 2,200

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514

OTHER BRONZE WORKS OF ART
Various Properties
512
A BRONZE CIRCULAR PLAQUE
By Kaniya Kuniharu, Meiji era (1868-1912), late 19th/early 20th century
Cast in high relief with the head of a lion looking to the left, its long,
heavy mane falling about its face; signed with chiselled cursive
hiragana script Kaniya Kuniharu saku.
35.5cm (14in) diam.
£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
Kaniya Kuniharu was one of the foremost craftsmen in cast bronze of
the Meiji era. He had been taught by two particularly eminent artists,
Takamura Koun (1852-1934) and Otake Norikuni (b.1852).
Kuniharu himself was one of the founding members of the Tokyo
Chukin Kai (Tokyo Cast Metal Association) in 1907 together with
Oshima Joun (1858-1940). He exhibited at both national andinternational exhibitions, including the Paris Exposition of 1900. Other
examples of his fine-quality work in bronze are illustrated in Joe Earle,
Splendors of Imperial Japan, Arts of the Meiji Period from the KhaliliCollection, London, 1999, pp.370 and 372, nos.263 and 264.
Illustrated on page 219.
513

220 | BONHAMS

515

513
A GILT BRONZE OKIMONO OF AN ONAGADORI(LONG-TAILED COCKEREL)
Meiji era (1868-1912), late 19th/early 20th century
Naturalistically carved perched on a modern detachable wood highstand, its head turned to the left watching for its flock, its extensive
long feathers forming its tail trailing behind; unsigned.
70.5cm (27¾in) high including stand. (2).

515
THREE ARTICULATED BRONZE MODELS OF CRABS
Meiji era (1868-1912), late 19th century/early 20th century
Of differing size, each crustacean separately cast and assembled,
the legs and claws fully articulated and the surface worked to simulate
the crab’s natural shell, the largest patinated to a reddish-brown finish;
all unsigned.
23cm (9 1/16in) wide, 15.5cm (6 1/8in) wide and 9cm (3½in) wide. (3).

£800 - 1,200
JPY100,000 - 150,000
US$990 - 1,500£2,000 - 3,000
JPY260,000 - 380,000
US$2,500 - 3,700514
AN ARTICULATED BRONZE MODEL OF A CRAB
Meiji era (1868-1912), late 19th century/early 20th century
The crustacean separately cast and assembled, the legs and claws
fully articulated, the surface worked to resemble the crab’s natural
shell, patinated to a reddish-brown finish; unsigned.
20cm (7 7/8in) wide.

516
AN ARTICULATED BRONZE MODEL OF A CRAB
By Watanabe, Meiji era (1868-1912),
late 19th century/early 20th century
Separately cast and assembled, the legs and claws fully articulated
and the surface cast to simulate a crab’s natural shell; signed beneathin a gilt rectangular reserve Watanabe.
23cm (9 1/16in) wide.

£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900£1,500 - 2,000
JPY190,000 - 260,000
US$1,900 - 2,500
Illustrated on page 222.

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516

517
A BRONZE OKIMONO GROUP
OF A MONKEY AND CHILD
By Joho/Sukekata, Meiji era (1868-1912),
late 19th/early 20th century
The adult seated, facing ahead with an alert
expression, affectionately stroking her offspringwhich lies over her left knee, having fallen asleep;
the base signed in seal script within a square
reserve Joho/Sukekata.
18cm (7 1/8in) high.
£1,500 - 1,800
JPY190,000 - 230,000
US$1,900 - 2,200
518Y Ф
A BRONZE OKIMONO GROUP
OF AN ELEPHANT AND TWO TIGERS
By Mitsumoto, Meiji era (1868-1912),
late 19th/early 20th century
The trumpeting mammal modelled fending off two
snarling tigers, stamping one tiger underfoot at thefront whilst another attacks from behind, clamberingover his back, the elephant’s belly signed in arectangular reserve Mitsumoto saku;
with separate wood stand.
25.5cm x 32.5cm (10in x 12 5/8in),the stand 33cm (13in ) long. (2).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

517

222 | BONHAMS

519
A BRONZE OKIMONO OF AN OX AND FARMER
By Genryusai Seiya, Meiji era (1868-1912),
late 19th/early 20th century
Fixed to an irregularly shaped wood and bronze
stand, the farmer walking behind and holding thehalter rope (missing) attached to a ring throughthe muzzle of a large ox laden with tied bundlesof brushwood; signed in a rectangular reserve
Seiya chu.
20cm x 40cm (7 7/8in x 15¾in).
£800 - 1,000
JPY100,000 - 130,000
US$990 - 1,200

518

519

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520

520
A BRONZE OKIMONO FIGURE OF A PEASANT
Meiji era (1868-1912), late 19th/early 20th century
Seated on a rock, resting after tilling the land, holding a pipe in his left
hand and clutching a scythe in his right, a tobacco pouch and pipecase suspended from his belt; unsigned.
19.5cm x 21.5cm (7 5/8in x 8½in).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

521

521
A BRONZE FIGURE OF BENKEI
Meiji era (1868-1912), late 19th/early 20th century
Standing in a belligerent pose, one leg outstretched holding anaginata sword, his robes cast with several crests including
maru-ni-chigai-takanoha-mon (crossing pair of hawk feathers
within a crest) and Genjiguruma-mon (cartwheel crest),
unsigned; fixed on an integral wood stand, supported onfour bracket feet pierced with stylized foliage.
The figure 18cm (7 1/8in) high,the stand 5.5cm x 13.5cm (2 1/8in x 5 3/8in).
£1,000 - 1,500
JPY130,000 - 190,000
US$1,200 - 1,900

224 | BONHAMS

522
TWO GILT-BRONZE FIGURES OF WARRIORS
One by Yoshimitsu, Meiji era (1868-1912),
late 19th/early 20th century
Each standing in a belligerent pose with feet apart, dressed in fullarmour carved with elaborate crests, one wearing an ostentatious
helmet and one clutching a cross-shaped spear (detachable) with asword tucked into his waist, unsigned, the figure 32cm (12 5/8in); thesecond warrior similarly poised holding a spear, a detachable sword
slung at this waist, signed in a rectangular reserve Yoshimitsu, thefigure 28cm (11in) high; each fixed to a large low wooden stand. (5).
£5,000 - 6,000
JPY640,000 - 770,000
US$6,200 - 7,400

END OF SALE

FINE JAPANESE ART| 225

SELECTED METALWORK SIGNATURES

479

481

488

490

495

503

512

496

482

483

491

516

485

492

497

504

484

497

505

517

492

499

493

499

505

507

518

486

493

501

508

510

519

522

FINE CHINESE ART

Thursday 10 November 2016
New Bond Street, London

AN EXCEPTIONALLY RARE DING YAO
TRIPOD CYLINDRICAL INCENSE BURNER, ZUN
Northern Song/ Jin Dynasty, 12th century
12.8cm (5in) diam.
£80,000 – 120,000
Provenance: John Sparks Ltd., London, by repute
A distinguished European private collection,and thence by descentbonhams.com/chineseart

ENQUIRIES+44 (0) 20 7468 8248
chinese@bonhams.com

THE JULIUS AND ARLETTE
KATCHEN COLLECTION OF
FINE NETSUKE: PART IA SELECTION OF FINE NETSUKE
19TH CENTURY
Estimates ranging from:£3,000 - 20,000

Tuesday 8 November 2016
New Bond Street, London

ENQUIRIES
London+44 (0)20 7468 8368
suzannah.yip@bonhams.com
New York+1 (212) 461 6516
jeff.olson@bonhams.com

bonhams.com/japaneseTHE ETHEREAL BRUSH:

Important Japanese Paintingsfrom a London Collection
Thursday 10 November 2016 at 11am
New Bond Street, London

Left
SUZUKI KIITSU (1796-1858)
Autumn Plants by Moonlight
19th century£8,000 - 12,000
Right
SUZUKI KIITSU (1796-1858)
AND KAMEDA BŌSAI (1752-1826)
Camellia and Calligraphy
circa 1820
£6,000 - 8,000

bonhams.com/japanese

ENQUIRIES
London+44 (0) 20 7468 8368
suzannah.yip@bonhams.com
New York+1 (212) 461 6516
jeff.olson@bonhams.com

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NOTICE TO BIDDERS
This notice is addressed by Bonhams to any person who
may be interested in a Lot, including Bidders and potential
Bidders (including any eventual Buyer of the Lot). For ease ofreference we refer to such persons as “Bidders” or “you”. Our
List of Definitions and Glossary is incorporated into this Notice
to Bidders. It is at Appendix 3 at the back of the Catalogue.
Where words and phrases are used in this notice which are in
the List of Definitions, they are printed in italics.

IMPORTANT: Additional information applicable to the Sale

may be set out in the Catalogue for the Sale, in an insert in
the Catalogue and/or in a notice displayed at the Sale venue
and you should read them as well. Announcements affecting
the Sale may also be given out orally before and during theSale without prior written notice. You should be alert to thepossibility of changes and ask in advance of bidding if there
have been any.

1. OUR ROLE
In its role as Auctioneer of Lots, Bonhams acts solely for
and in the interests of the Seller. Bonhams’ job is to sell the
Lot at the highest price obtainable at the Sale to a Bidder.
Bonhams does not act for Buyers or Bidders in this role anddoes not give advice to Buyers or Bidders. When it or its
staff make statements about a Lot or, if Bonhams provides
a Condition Report on a Lot it is doing that on behalf of theSeller of the Lot. Bidders and Buyers who are themselves
not expert in the Lots are strongly advised to seek and obtain
independent advice on the Lots and their value before bidding
for them. The Seller has authorised Bonhams to sell the Lot
as its agent on its behalf and, save where we expressly makeit clear to the contrary, Bonhams acts only as agent for the
Seller. Any statement or representation we make in respectof a Lot is made on the Seller’s behalf and, unless Bonhams
sells a Lot as principal, not on our behalf and any Contract for
Sale is between the Buyer and the Seller and not with us. If
Bonhams sells a Lot as principal this will either be stated in theCatalogue or an announcement to that effect will be made by
the Auctioneer, or it will be stated in a notice at the Sale or an
insert in the Catalogue.
Bonhams does not owe or undertake or agree to any dutyor responsibility to you in contract or tort (whether direct,
collateral, express, implied or otherwise). If you successfully bid
for a Lot and buy it, at that stage Bonhams does enter into anagreement with the Buyer. The terms of that contract are set
out in our Buyer’s Agreement, which you will find at Appendix
2 at the back of the Catalogue. This will govern Bonhams’
relationship with the Buyer.

2. LOTS
Subject to the Contractual Description printed in bold lettersin the Entry about the Lot in the Catalogue (see paragraph 3
below), Lots are sold to the Buyer on an “as is” basis, withall faults and imperfections. Illustrations and photographs
contained in the Catalogue (other than photographs forming
part of the Contractual Description) or elsewhere of any Lotsare for identification purposes only. They may not reveal thetrue condition of the Lot. A photograph or illustration may notreflect an accurate reproduction of the colour(s) of the Lot.
Lots are available for inspection prior to the Sale and it is foryou to satisfy yourself as to each and every aspect of a Lot,
including its authorship, attribution, condition, provenance,
history, background, authenticity, style, period, age, suitability,
quality, roadworthiness (if relevant), origin, value andestimated selling price (including the Hammer Price). It is yourresponsibility to examine any Lot in which you are interested. It
should be remembered that the actual condition of a Lot may
not be as good as that indicated by its outward appearance.
In particular, parts may have been replaced or renewed andLots may not be authentic or of satisfactory quality; the insideof a Lot may not be visible and may not be original or may bedamaged, as for example where it is covered by upholsteryor material. Given the age of many Lots they may have beendamaged and/or repaired and you should not assume thata Lot is in good condition. Electronic or mechanical parts
may not operate or may not comply with current statutory
requirements. You should not assume that electrical items
designed to operate on mains electricity will be suitable forconnection to the mains electricity supply and you should
obtain a report from a qualified electrician on their status before

doing so. Such items which are unsuitable for connection
are sold as items of interest for display purposes only. If you
yourself do not have expertise regarding a Lot, you should
consult someone who does to advise you. We can assist inarranging facilities for you to carry out or have carried out moredetailed inspections and tests. Please ask our staff for details.
Any person who damages a Lot will be held liable for theloss caused.

3. DESCRIPTIONS OF LOTS AND ESTIMATES
Contractual Description of a Lot
The Catalogue contains an Entry about each Lot. Each Lot
is sold by its respective Seller to the Buyer of the Lot as
corresponding only with that part of the Entry which isprinted in bold letters and (except for the colour, which may
be inaccurately reproduced) with any photograph of the Lot
in the Catalogue. The remainder of the Entry, which is notprinted in bold letters, represents Bonhams’ opinion (given on
behalf of the Seller) about the Lot only and is not part of theContractual Description in accordance with which the Lot issold by the Seller.
Estimates

In most cases, an Estimate is printed beside the Entry.
Estimates are only an expression of Bonhams’ opinion madeon behalf of the Seller of the range where Bonhams thinks theHammer Price for the Lot is likely to fall; it is not an Estimateof value. It does not take into account any VAT or Buyer’s
Premium payable. Lots can in fact sell for Hammer Prices
below and above the Estimate. Any Estimate should not be
relied on as an indication of the actual selling price or value of aLot. Estimates are in the currency of the Sale.

Condition Reports

In respect of most Lots, you may ask for a Condition Reporton its physical condition from Bonhams. If you do so, this will
be provided by Bonhams on behalf of the Seller free of charge.
Bonhams is not entering into a contract with you in respectof the Condition Report and accordingly does not assume
responsibility to you in respect of it. Nor does the Seller owe oragree to owe you as a Bidder any obligation or duty in respectof this free report about a Lot, which is available for your own
inspection or for inspection by an expert instructed by you.
However, any written Description of the physical condition of
the Lot contained in a Condition Report will form part of theContractual Description of the Lot under which it is sold to
any Buyer.

The Seller’s responsibility to you

The Seller does not make or agree to make any representationof fact or contractual promise, Guarantee or warranty andundertakes no obligation or duty, whether in contract or in
tort (other than to the eventual Buyer as set out above), in
respect of the accuracy or completeness of any statement
or representation made by him or on his behalf, which is in
any way descriptive of any Lot or as to the anticipated or
likely selling price of any Lot. Other than as set out above, nostatement or representation in any way descriptive of a Lot
or any Estimate is incorporated into any Contract for Sale
between a Seller and a Buyer.

Bonhams’ responsibility to you

You have the opportunity of examining the Lot if you want toand the Contract for Sale for a Lot is with the Seller and notwith Bonhams; Bonhams acts as the Seller’s agent only (unless
Bonhams sells the Lot as principal).
Bonhams undertakes no obligation to you to examine,
investigate or carry out any tests, either in sufficient depth or atall, on each Lot to establish the accuracy or otherwise of any
Descriptions or opinions given by Bonhams, or by any person
on Bonhams’ behalf, whether in the Catalogue or elsewhere.
You should not suppose that such examinations, investigations
or tests have occurred.
Bonhams does not make or agree to make any representationof fact, and undertakes no obligation or duty (whether incontract or tort) in respect of the accuracy or completenessof any statement or representation made by Bonhams or on
Bonhams’ behalf which is in any way descriptive of any Lot

or as to the anticipated or likely selling price of any Lot. No
statement or representation by Bonhams or on its behalf in any
way descriptive of any Lot or any Estimate is incorporated into
our Buyer’s Agreement.

Alterations

Descriptions and Estimates may be amended at Bonhams’
discretion from time to time by notice given orally or inwriting before or during a Sale.
THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST
FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE
STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT
EXAMINED ON YOUR BEHALF BEFORE THE SALE.

4. CONDUCT OF THE SALE
Our Sales are public auctions which persons may attend andyou should take the opportunity to do so. We do reserve theright at our sole discretion to refuse admission to our premises
or to any Sale without stating a reason. We have complete
discretion as to whether the Sale proceeds, whether any
Lot is included in the Sale, the manner in which the Sale isconducted and we may offer Lots for Sale in any order wechoose notwithstanding the numbers given to Lots in theCatalogue. You should therefore check the date and startingtime of the Sale, whether there have been any withdrawals
or late entries. Remember that withdrawals and late entries
may affect the time at which a Lot you are interested in is put
up for Sale. We have complete discretion to refuse any bid,
to nominate any bidding increment we consider appropriate,
to divide any Lot, to combine two or more Lots, to withdraw
any Lot from a Sale and, before the Sale has been closed,
to put up any Lot for auction again. Auction speeds canexceed 100 Lots to the hour and bidding increments are
generally about 10%. However these do vary from Sale toSale and from Auctioneer to Auctioneer. Please check withthe department organising the Sale for advice on this. Wherea Reserve has been applied to a Lot, the Auctioneer may,in his absolute discretion, place bids (up to an amount notequalling or exceeding such Reserve) on behalf of the Seller.
We are not responsible to you in respect of the presence orabsence of any Reserve in respect of any Lot. If there is aReserve it will normally be no higher than the lower figure for
any Estimate in the Catalogue, assuming that the currency of
the Reserve has not fluctuated adversely against the currencyof the Estimate. The Buyer will be the Bidder who makes thehighest bid acceptable to the Auctioneer for any Lot (subject
to any applicable Reserve) to whom the Lot is knocked downby the Auctioneer at the fall of the Auctioneer’s hammer. Any
dispute as to the highest acceptable bid will be settled by theAuctioneer in his absolute discretion. All bids tendered will
relate to the actual Lot number announced by the Auctioneer.
An electronic currency converter may be used at the Sale. Thisequipment is provided as a general guide as to the equivalentamount in certain currencies of a given bid. We do not accept
any responsibility for any errors which may occur in the use of
the currency converter. We may use video cameras to record
the Sale and may record telephone calls for reasons of security
and to assist in solving any disputes which may arise in relation
to bids made at the Sale. At some Sales, for example, jewellery
Sales, we may use screens on which images of the Lots will be
projected. This service is provided to assist viewing at the Sale.
The image on the screen should be treated as an indication
only of the current Lot. It should be noted that all bids tendered
will relate to the actual Lot number announced by
the Auctioneer. We do not accept any responsibility for any
errors which may occur in the use of the screen.

5. BIDDING
We do not accept bids from any person who has notcompleted and delivered to us one of our Bidding Forms,
either our Bidder Registration Form, Absentee Bidding Form or
Telephone Bidding Form. You will be asked for proof of identity,
residence and references, which, when asked for, you must
supply if your bids are to be accepted by us. Please bringyour passport, driving licence (or similar photographic proof ofidentity) and proof of address. We may request a deposit fromyou before allowing you to bid. We may refuse entry to a Saleto any person even if that person has completed a Bidding
Form.

NTB/MAIN/11.16

Bidding in person

You should come to our Bidder registration desk at the Salevenue and fill out a Bidder Registration Form on (or, if possible,
before) the day of the Sale. The bidding number system issometimes referred to as “paddle bidding”. You will be issued
with a large card (a “paddle”) with a printed number on it. This
will be attributed to you for the purposes of the Sale. Should
you be a successful Bidder you will need to ensure that yournumber can be clearly seen by the Auctioneer and that it isyour number which is identified as the Buyer’s. You should not
let anyone else use your paddle as all Lots will be invoiced to
the name and address given on your Bidder Registration Form.
Once an invoice is issued it will not be changed. If there isany doubt as to the Hammer Price of, or whether you are thesuccessful Bidder of, a particular Lot, you must draw this tothe attention of the Auctioneer before the next Lot is offered forSale. At the end of the Sale, or when you have finished bidding
please return your paddle to the Bidder registration desk.

Bidding by telephone

If you wish to bid at the Sale by telephone, please complete a
Telephone Bidding Form, which is available from our offices orin the Catalogue. Please then return it to the office responsible
for the Sale at least 24 hours in advance of the Sale. It isyour responsibility to check with our Bids Office that yourbid has been received. Telephone calls will be recorded. The
telephone bidding facility is a discretionary service and may not
be available in relation to all Lots. We will not be responsible
for bidding on your behalf if you are unavailable at the time of
the Sale or if the telephone connection is interrupted duringbidding. Please contact us for further details.

Bidding by post or fax

Absentee Bidding Forms can be found in the back of thisCatalogue and should be completed and sent to the office
responsible for the Sale. It is in your interests to return yourform as soon as possible, as if two or more Bidders submit
identical bids for a Lot, the first bid received takes preference.
In any event, all bids should be received at least 24 hours
before the start of the Sale. Please check your Absentee
Bidding Form carefully before returning it to us, fully completed
and signed by you. It is your responsibility to check with ourBids Office that your bid has been received. This additional
service is complimentary and is confidential. Such bids are
made at your own risk and we cannot accept liability for our
failure to receive and/or place any such bids. All bids madeon your behalf will be made at the lowest level possible
subject to Reserves and other bids made for the Lot. Where
appropriate your bids will be rounded down to the nearest
amount consistent with the Auctioneer’s bidding increments.
New Bidders must also provide proof of identity and addresswhen submitting bids. Failure to do this will result in your bid
not being placed.

Bidding via the internet

Please visit our Website at http://www.bonhams.com fordetails of how to bid via the internet.

Bidding through an agent

Bids will be accepted as placed on behalf of the person named
as the principal on the Bidding Form although we may refuse
to accept bids from an agent on behalf of a principal andwill require written confirmation from the principal confirming
the agent’s authority to bid. Nevertheless, as the Bidding
Form explains, any person placing a bid as agent on behalfof another (whether or not he has disclosed that fact or theidentity of his principal) will be jointly and severally liable withthe principal to the Seller and to Bonhams under any contract
resulting from the acceptance of a bid. Subject to the above,please let us know if you are acting on behalf of anotherperson when bidding for Lots at the Sale.
Equally, please let us know if you intend to nominate anotherperson to bid on your behalf at the Sale unless this is to be
carried out by us pursuant to a Telephone or Absentee Bidding
Form that you have completed. If we do not approve theagency arrangements in writing before the Sale, we are entitledto assume that the person bidding at the Sale is bidding on
his own behalf. Accordingly, the person bidding at the Sale willbe the Buyer and will be liable to pay the Hammer Price andBuyer’s Premium and associated charges. If we approve theidentity of your client in advance, we will be in a position toaddress the invoice to your principal rather than you. We will

require proof of the agent’s client’s identity and residence inadvance of any bids made by the agent on his behalf. Pleaserefer to our Conditions of Business and contact our Customer
Services Department for further details.

G

6. CONTRACTS BETWEEN THE BUYER AND
SELLER AND THE BUYER AND BONHAMSa

On the Lot being knocked down to the Buyer, a Contract for
Sale of the Lot will be entered into between the Seller and theBuyer on the terms of the Contract for Sale set out in Appendix
1 at the back of the Catalogue. You will be liable to pay the
Purchase Price, which is the Hammer Price plus any applicable
VAT. At the same time, a separate contract is also entered into
between us as Auctioneers and the Buyer. This is our Buyer’s
Agreement, the terms of which are set out in Appendix 2 at theback of the Catalogue. Please read the terms of the Contract
for Sale and our Buyer’s Agreement contained in the Catalogue
in case you are the successful Bidder. We may change theterms of either or both of these agreements in advance of
their being entered into, by setting out different terms in theCatalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements
before and during the Sale. You should be alert to thispossibility of changes and ask if there have been any.

7. BUYER’S PREMIUM AND OTHER CHARGESPAYABLE BY THE BUYER
Under the Buyer’s Agreement, a premium (the Buyer’s
Premium) is payable to us by the Buyer in accordance with theterms of the Buyer’s Agreement and at rates set out below,
calculated by reference to the Hammer Price and payable inaddition to it. Storage charges and Expenses are also payable
by the Buyer as set out in the Buyer’s Agreement. All the sums
payable to us by the Buyer are subject to VAT. For this Sale thefollowing rates of Buyer’s Premium will be payable by Buyers
on each lot purchased:
25% up to £100,000 of the Hammer Price
20% from £100,001 to £2,000,000 of the Hammer Price
12% from £2,000,001 of the Hammer Price
The Buyer’s premium is payable for the services to be provided
by Bonhams in the Buyer’s Agreement which is contained in
the Catalogue for this Sale and for the opportunity to bid for
the Lot at the Sale.
On certain Lots, which will be marked “AR” in the Catalogue
and which are sold for a Hammer Price of €1,000 or greater(converted into the currency of the Sale using the European
Central Bank Reference rate prevailing on the date of the Sale),
the Additional Premium will be payable to us by the Buyer tocover our Expenses relating to the payment of royalties underthe Artists Resale Right Regulations 2006. The Additional
Premium will be a percentage of the amount of the Hammer
Price calculated in accordance with the table below, and shallnot exceed €12,500 (converted into the currency of the Sale
using the European Central Bank Reference rate prevailing on
the date of the Sale).
Hammer Price
From €0 to €50,000
From €50,000.01 to €200,000
From €200,000.01 to €350,000
From €350,000.01 to €500,000
Exceeding €500,000

Percentage amount
4%
3%
1%
0.5%
0.25%

8. VAT
The prevailing rate of VAT at the time of going to press is 20%,
but this is subject to government change and the rate payable
will be the rate in force on the date of the Sale.
The following symbols are used to denote that VAT is due on
the Hammer Price and Buyer’s Premium:†
VAT at the prevailing rate on Hammer Price and Buyer’s
PremiumΩ
VAT on imported items at the prevailing rate on Hammer
Price and Buyer’s Premium*
VAT on imported items at a preferential rate of 5%
on Hammer Price and the prevailing rate on Buyer’s
Premium•

Gold bullion exempt from VAT on the Hammer Priceand subject to VAT at the prevailing rate on the Buyer’s
Premium
Zero rated for VAT, no VAT will be added to the Hammer
Price or the Buyer’s Premium
Buyers from within the EU: VAT is payable at theprevailing rate on just the Buyer’s Premium (NOT the
Hammer Price). Buyers from outside the EU: VAT ispayable at the prevailing rate on both Hammer Price andBuyer’s Premium. If a Buyer, having registered undera non-EU address, decides that the item is not to beexported from the EU, then he should advise Bonhams
immediately.

In all other instances no VAT will be charged on the Hammer
Price, but VAT at the prevailing rate will be added to Buyer’s
Premium which will be invoiced on a VAT inclusive basis.

9. PAYMENTIt is of critical importance that you ensure that you have readily
available funds to pay the Purchase Price and the Buyer’s
Premium (plus VAT and any other charges and Expenses to us)
in full before making a bid for the Lot. If you are a successful
Bidder, payment will be due to us by 4.30 pm on the second
working day after the Sale so that all sums are cleared by
the eighth working day after the Sale. Unless agreed by us inadvance payments made by anyone other than the registered
Buyer will not be accepted. Payment will have to be by one of
the following methods (all cheques should be made payable to
Bonhams 1793 Limited). Bonhams reserves the right to vary
the terms of payment at any time.
Sterling personal cheque drawn on a UK branch of a bank orbuilding society: all cheques must be cleared before you cancollect your purchases;
Cash: you may pay for Lots purchased by you at this Sale
with notes, coins or travellers cheques in the currency in which
the Sale is conducted (but not any other currency) provided
that the total amount payable by you in respect of all Lotspurchased by you at the Sale does not exceed £3,000, or
the equivalent in the currency in which the Sale is conducted,
at the time when payment is made. If the amount payable
by you for Lots exceeds that sum, the balance must be paid
otherwise than in coins, notes or travellers cheques;Bank transfer: you may electronically transfer funds to ourTrust Account. If you do so, please quote your paddle number
and invoice number as the reference. Our Trust Account details
are as follows:
Bank: National Westminster Bank Plc
Address: PO Box 4RY
250 Regent Street
London W1A 4RY
Account Name: Bonhams 1793 Limited Trust Account
Account Number: 25563009
Sort Code: 56-00-27
IBAN Number: GB 33 NWBK 560027 25563009
If paying by bank transfer, the amount received after the
deduction of any bank fees and/or conversion of the currencyof payment to pounds sterling must not be less than thesterling amount payable, as set out on the invoice.
Debit cards: there is no additional charge for purchases madewith personal debit cards, issued by a UK bank. Debit cards
issued by an overseas bank, deferred and company debit
cards and all credit cards will be subject to a 2% surcharge;
Credit cards: Visa and Mastercard only. Please note there is
a 2% surcharge on the total invoice value when payments are
made using credit cards. It may be advisable to notify yourcard provider of your intended purchase in advance to reduce
delays caused by us having to seek authority when you cometo pay. If you have any questions with regard to payment,
please contact our Customer Services Department.
China UnionPay (CUP) debit cards: No surcharge for using
CUP debit cards will apply on the first £100,000 invoiced
to a Buyer in any Sale; a 2% surcharge will be made on thebalance over £100,000.

NTB/MAIN/11.16

10. COLLECTION AND STORAGE
The Buyer of a Lot will not be allowed to collect it until payment
in full and in cleared funds has been made (unless we havemade a special arrangement with the Buyer). For collection andremoval of purchased Lots, please refer to Sale Information at
the front of the Catalogue. Our offices are open 9.00am – 5pm
Monday to Friday. Details relating to the collection of a Lot, thestorage of a Lot and our Storage Contractor after the Sale areset out in the Catalogue.

11. SHIPPING
Please refer all enquiries to our shipping department on:
Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805
Email: shipping@bonhams.com

12. EXPORT/TRADE RESTRICTIONS
It is your sole responsibility to comply with all export andimport regulations relating to your purchases and also toobtain any relevant export and/or import licence(s). Export
licences are issued by Arts Council England and application
forms can be obtained from its Export Licensing Unit. The
detailed provisions of the export licencing arrangements canbe found on the ACE website http://www.artscouncil.org.uk/
what-we-do/supporting-museums/cultural-property/exportcontrols/export-licensing/ or by phoning ACE on +44 (0)20
7973 5188. The need for import licences varies from country
to country and you should acquaint yourself with all relevant
local requirements and provisions. The refusal of any import orexport licence(s) or
any delay in obtaining such licence(s) shall not permit therescission of any Sale nor allow any delay in making full
payment for the Lot. Generally, please contact our shipping
department before the Sale if you require assistance inrelation to export regulations.

13. CITES REGULATIONS
Please be aware that all Lots marked with the symbol Y are
subject to CITES regulations when exporting these items
outside the EU. These regulations may be found at
http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or
may be requested from:
Animal Health and Veterinary Laboratories Agency (AHVLA)
Wildlife Licencing
Floor 1, Zone 17, Temple Quay House
2 The Square, Temple Quay
BRISTOL BS1 6EB
Tel: +44 (0) 117 372 8774

14. THE SELLERS AND/OR BONHAMS’ LIABILITY
Other than any liability of the Seller to the Buyer of a Lot
under the Contract for Sale, neither we nor the Seller are
liable (whether in negligence or otherwise) for any error ormisdescription or omission in any Description of a Lot or any
Estimate in respect of it, whether contained in the Catalogue orotherwise, whether given orally or in writing and whether given
before or during the Sale. Neither we nor the Seller will be
liable for any loss of Business, profits, revenue or income, orfor loss of reputation, or for disruption to Business or wasted
time on the part of management or staff, or for indirect losses
or consequential damages of any kind, irrespective in any
case of the nature, volume or source of the loss or damage
alleged to be suffered, and irrespective of whether the said
loss or damage is caused by or claimed in respect of any
negligence, other tort, breach of contract (if any) or statutory
duty, restitutionary claim or otherwise. In any circumstanceswhere we and/or the Seller are liable in relation to any Lot or
any Description or Estimate made of any Lot, or the conductof any Sale in relation to any Lot, whether in damages, for
an indemnity or contribution, or for a restitutionary remedy orotherwise, our and/or the Seller’s liability (combined, if both
we and the Seller are liable) will be limited to payment of a sum
which will not exceed by way of maximum the amount of thePurchase Price of the Lot irrespective in any case of the nature,
volume or source of any loss or damage alleged to be sufferedor sum claimed as due, and irrespective of whether the liability
arises from any negligence, other tort, breach of contract (ifany) or statutory duty or otherwise. Nothing set out above will
be construed as excluding or restricting (whether directly or

indirectly) our liability or excluding or restricting any person’s
rights or remedies in respect of (i) fraud, or (ii) death or
personal injury caused by our negligence (or by the negligenceof any person under our control or for whom we are legally
responsible), or (iii) acts or omissions for which we are liable
under the Occupiers Liability Act 1957, or (iv) any other liability
to the extent the same may not be excluded or restricted asa matter of law or (v) our undertakings under paragraphs 9 (inrelation to specialist Stamp or Book Sales only) and 10 of theBuyer’s Agreement. The same applies in respect of the Seller,
as if references to us in this paragraph were substituted withreferences to the Seller.

15. BOOKSAs stated above, all Lots are sold on an “as is” basis, subject
to all faults, imperfections and errors of Description save as
set out below. However, you will be entitled to reject a Bookin the circumstances set out in paragraph 11 of the Buyers
Agreement. Please note that Lots comprising printed Books,
unframed maps and bound manuscripts are not liable to VAT
on the Buyer’s Premium.

16. CLOCKS AND WATCHESAll Lots are sold “as is”, and the absence of any reference tothe condition of a clock or watch does not imply that the Lot isin good condition and without defects, repairs or restorations.
Most clocks and watches have been repaired in the course of
their normal lifetime and may now incorporate parts not original
to them. Furthermore, Bonhams makes no representation or
warranty that any clock or watch is in working order. As clocks
and watches often contain fine and complex mechanisms,
Bidders should be aware that a general service, change ofbattery or further repair work, for which the Buyer is solely
responsible, may be necessary. Bidders should be awarethat the importation of watches such as Rolex, Frank Muller
and Corum into the United States is highly restricted. Thesewatches may not be shipped to the USA and can only be
imported personally.

17. FIREARMS – PROOF, CONDITION AND
CERTIFICATION
Proof of Firearms

The term “proof exemption” indicates that a firearm has been
examined at a Proof House, but not proved, as either (a) it wasdeemed of interest and not intended for use, or (b) ammunition
was not available. In either case, the firearm must be regarded
as unsafe to fire unless subsequently proved. Firearms
proved for Black Powder should not be used with smokelessammunition.
The term “Certificate of Unprovability” indicates that a firearm
has been examined at a Proof House and is deemed both
unsuitable for proof and use. Reproof is required before any
such firearm is to be used.

Guns Sold as Parts

Barrels of guns sold as parts will only be made available forsleeving and measurements once rendered unserviceableaccording to the Gun Barrel Proof Act of 1968 to 1978 and theRules of Proof.

Condition of Firearms

Comment in this Catalogue is restricted, in general, to
exceptional condition and to those defects that might
affect the immediate safety of a firearm in normal use. An
intending Bidder unable to make technical examinations
and assessments is recommended to seek advice from agunmaker or from a modern firearms specialist. All prospective
Bidders are advised to consult the ˚ of bore and wall-thickness
measurements posted in the saleroom and available from thedepartment. Bidders should note that guns are stripped only
where there
is a strong indication of a mechanical malfunction. Stripping
is not, otherwise, undertaken. Guns intended for use should
be stripped and cleaned beforehand. Hammer guns shouldhave their rebound mechanisms checked before use. The
safety mechanisms of all guns must be tested before use.
All measurements are approximate.

Original Gun Specifications Derived from
Gunmakers

The Sporting Gun Department endeavours to confirm a gun’s
original specification and date of manufacture with makers who
hold their original records.

Licensing Requirements
Firearms Act 1968 as amended

Bonhams is constantly reviewing its procedures and would
remind you that, in the case of firearms or shotguns subject tocertification, to conform with current legislation, Bonhams isrequired to see, as appropriate, your original registered firearms
dealer’s certificate / shot gun certificate / firearm certificate /museum firearms licence / Section 5 authority or import licence(or details of any exemption from which you may benefit, forinstance Crown servant status) for the firearm(s) you havepurchased prior to taking full payment of the amount shownon your invoice. Should you not already be in possession ofsuch an authority or exemption, you are required to initially
pay a deposit of 95% of the total invoice with the balance of
5% payable on presentation of your valid certificate or licenceshowing your authority to hold the firearm(s) concerned.
Please be advised that if a successful Bidder is then unable
to produce the correct paperwork, the Lot(s) will be reofferedby Bonhams in the next appropriate Sale, on standard termsfor Sellers, and you will be responsible for any loss incurred by
Bonhams on the original Sale to you.
In the case of RFD certificates and Section 5 authorities, wewish to keep an up-to-date copy on file. Please supply us witha Fax or photocopy. It would be helpful if you could send us an
updated copy whenever your certificate or authority is renewed
or changed.
Lots marked ‘S1´ and bearing red labels are Section 1 firearms
and require a valid British Firearms certificate, RFD Licence orimport licence.
Lots marked ‘S2’ and bearing blue labels are Section 2
firearms and require a valid British Shotgun certificate, RFD
licence or import licence.
Lots marked ‘S5´ and bearing specially marked red labels are
Section 5 prohibited firearms and require a valid Section 5
Authority or import licence.
Lots marked with a ‘S58´ and bearing yellow labels are forobsolete calibres and no licence is required unless ammunitionis held.
Unmarked Lots require no licence.
Please do not hesitate to contact the Modern Sporting Gun
Department should you have any queries.

Taxidermy and Related Items

As a Seller of these articles, Bonhams undertakes to comply
fully with Cites and DEFRA regulations. Buyers are advised to
inform themselves of all such regulations and should expect
the exportation of items to take some time to arrange.

18. FURNITURE
Upholstered Furniture

Whilst we take every care in cataloguing furniture which has
been upholstered we offer no Guarantee as to the originalityof the wood covered by fabric or upholstery.

19. JEWELLERY͌ Ruby and Jadeite

Ruby and jadeite gemstones of Burmese (Myanmar) origin
may not be imported into the US. Rubies and jadeite of
non–Burmese origin require certification before import
into the US and it is the Buyer’s responsibility to obtain all
relevant and required export/import licences, certificatesand documentation before shipping. Failure by the Buyer tosuccessfully import goods into the US does not constitutegrounds for non payment or cancellation of Sale. Bonhams
will not be responsible for any additional costs in this regard
howsoever incurred.

NTB/MAIN/11.16

Gemstones

Historically many gemstones have been subjected to a varietyof treatments to enhance their appearance. Sapphires andrubies are routinely heat treated to improve their colour andclarity, similarly emeralds are frequently treated with oils
or resin for the same purpose. Other treatments such as
staining, irradiation or coating may have been used on othergemstones. These treatments may be permanent, whilst
others may need special care or re-treatment over the years
to retain their appearance. Bidders should be aware that
Estimates assume that gemstones may have been subjected
to such treatments. A number of laboratories issue certificatesthat give more detailed Descriptions of gemstones. However
there may not be consensus between different laboratories on
the degrees, or types of treatment for any particular gemstone.
In the event that Bonhams has been given or has obtained
certificates for any Lot in the Sale these certificates will be
disclosed in the Catalogue. Although, as a matter of policy,
Bonhams endeavours to provide certificates from recognisedlaboratories for certain gemstones, it is not feasible to obtaincertificates for each Lot. In the event that no certificate is
published in the Catalogue, Bidders should assume that thegemstones may have been treated. Neither Bonhams nor
the Seller accepts any liability for contradictions or differingcertificates obtained by Buyers on any Lots subsequent to
the Sale.

Estimated Weights

If a stone(s) weight appears within the body of the Description
in capital letters, the stone(s) has been unmounted andweighed by Bonhams. If the weight of the stone(s) is statedto be approximate and does not appear in capital letters, thestone(s) has been assessed by us within its/their settings,
and the stated weight is a statement of our opinion only. This
information is given as a guide and Bidders should satisfy
themselves with regard to this information as to its accuracy.

Signatures
1. A diamond brooch, by Kutchinsky

When the maker’s name appears in the title, in Bonhams’opinion the piece is by that maker.

2. A diamond brooch, signed Kutchinsky

Has a signature that, in Bonhams’ opinion, is authentic but
may contain gemstones that are not original, or the piece may
have been altered.

3. A diamond brooch, mounted by Kutchinsky

Has been created by the jeweller, in Bonhams’ opinion, butusing stones or designs supplied by the client.

20. PHOTOGRAPHS
Explanation of Catalogue Terms• “Bill Brandt”: in our opinion a work by the artist.
• “Attributed to Bill Brandt”: in our opinion probably a work by
the artist, but less certainty to authorship is expressed thanin the preceding category.
• “Signed and/or titled and/or dated and/or inscribed”: inour opinion the signature and/or title and/or date and/or
inscription are in the artist’s hand.
• “Signed and/or titled and/or dated and/or inscribed inanother hand”: in our opinion the signature and/or title and/or date and/or inscription have been added byanother hand.
• The date given is that of the image (negative). Where nofurther date is given, this indicates that the photographic
print is vintage (the term “vintage” may also be included in
the Lot Description). A vintage photograph is one which
was made within approximately 5-10 years of the negative.
Where a second, later date appears, this refers to the dateof printing. Where the exact printing date is not known, but
understood to be later, “printed later” will appear in the Lot
Description.
• Unless otherwise specified, dimensions given are those of
the piece of paper on which the image is printed, including
any margins. Some photographs may appear in theCatalogue without margins illustrated.
• All photographs are sold unframed unless stated in the Lot
Description.

21. PICTURES
Explanation of Catalogue Terms

The following terms used in the Catalogue have the following
meanings but are subject to the general provisions relating to
Descriptions contained in the Contract for Sale:• “Jacopo Bassano”: in our opinion a work by the artist.
When the artist’s forename(s) is not known, a series ofasterisks, followed by the surname of the artist, whether
preceded by an initial or not, indicates that in our opinion
the work is by the artist named;• “Attributed to Jacopo Bassano”: in our opinion probably
a work by the artist but less certainty as to authorship isexpressed than in the preceding category;• “Studio/Workshop of Jacopo Bassano”: in our opinion awork by an unknown hand in a studio of the artist which
may or may not have been executed under the artist’s
direction;• “Circle of Jacopo Bassano”: in our opinion a work bya hand closely associated with a named artist but notnecessarily his pupil;• “Follower of Jacopo Bassano”: in our opinion a work by apainter working in the artist’s style, contemporary or nearly
contemporary, but not necessarily his pupil;• “Manner of Jacopo Bassano”: in our opinion a work in thestyle of the artist and of a later date;• “After Jacopo Bassano”: in our opinion, a copy of a known
work of the artist;• “Signed and/or dated and/or inscribed”: in our opinion thesignature and/or date and/or inscription are from the handof the artist;• “Bears a signature and/or date and/or inscription”: in our
opinion the signature and/or date and/or inscription havebeen added by another hand.

22. PORCELAIN AND GLASS
Damage and Restoration

For your guidance, in our Catalogues we detail, as far aspracticable, recorded all significant defects, cracks andrestoration. Such practicable Descriptions of damage cannot
be definitive, and in providing Condition Reports, we cannot
Guarantee that there are no other defects present which havenot been mentioned. Bidders should satisfy themselves byinspection, as to the condition of each Lot. Please see theContract for Sale printed in this Catalogue. Because of the
difficulty in determining whether an item of glass has been
repolished, in our Catalogues reference is only made to visible
chips and cracks. No mention is made of repolishing, severeor otherwise.

23. VEHICLESThe Veteran Car Club of Great Britain
Dating Plates and Certificates

When mention is made of a Veteran Car Club Dating Plate or
Dating Certificate in this Catalogue, it should be borne in mind
that the Veteran Car Club of Great Britain using the services ofVeteran Car Company Ltd, does from time to time, review carsalready dated and, in some instances, where fresh evidence
becomes available, the review can result in an alteration ofdate. Whilst the Club and Veteran Car Company Ltd makeevery effort to ensure accuracy, the date shown on the Dating
Plate or Dating Certificate cannot be guaranteed as correct andintending purchasers should make their own enquiries as to thedate of the car.

It is not our policy to inspect every unopened case. In the caseof wines older than 20 years the boxes will usually have been
opened and levels and appearance noted in the Catalogue
where necessary. You should make proper allowance forvariations in ullage levels and conditions of corks, capsulesand labels.

Corks and Ullages

Ullage refers to the space between the base of the cork
and the wine. Ullage levels for Bordeaux shaped bottles are
only normally noted when below the neck and for Burgundy,
Alsace, German and Cognac shaped bottles when greaterthan 4 centimetres (cm). Acceptable ullage levels increase withage; generally acceptable levels are as follows:
Under 15 years old – into neck or less than 4cm
15 to 30 years old – top shoulder (ts) or up to 5cm
Over 30 years old – high shoulder (hs) or up to 6cm
It should be noted that ullages may change between
publication of the Catalogue and the Sale and that corks may
fail as a result of transporting the wine. We will only accept
responsibility for Descriptions of condition at the time of
publication of the Catalogue and cannot accept responsibility
for any loss resulting from failure of corks either before or after
this point.

Options to buy parcels

A parcel is a number of Lots of identical size of the same wine,bottle size and Description. The Buyer of any of these Lots has
the option to accept some or all of the remaining Lots in theparcel at the same price, although such options will be at theAuctioneer’s sole discretion. Absentee Bidders are, therefore,
advised to bid on the first Lot in a parcel.

Wines in Bond

Wines lying in Bond are marked Δ. All Lots sold under Bond,and which the Buyer wishes to remain under Bond, will be
invoiced without VAT or Duty on the Hammer Price. If theBuyer wishes to take the Lot as Duty paid, UK Excise Duty and
VAT will be added to the Hammer Price on the invoice.
Buyers must notify Bonhams at the time of the sale whether
they wish to take their wines under Bond or Duty paid. If a
Lot is taken under Bond, the Buyer will be responsible for all
VAT, Duty, clearance and other charges that may be payable
thereon.
Buyers outside the UK must be aware that any forwarding
agent appointed to export their purchases must have amovement certificate for Lots to be released under Bond.

Bottling Details and Case Terms

The following terms used in the Catalogue have the following
meanings:
CB – Château bottled
DB – Domaine bottled
EstB – Estate bottled
BB – Bordeaux bottled
BE – Belgian bottled
FB – French bottled
GB – German bottled
OB – Oporto bottled
UK – United Kingdom bottled
owc – original wooden caseiwc – individual wooden caseoc – original carton

24. WINE
Lots which are lying under Bond and those liable to VAT may
not be available for immediate collection.

Examining the wines

It is occasionally possible to provide a pre-Sale tasting forlarger parcels (as defined below). This is generally limited tomore recent and everyday drinking wines. Please contact the
department for details.

NTB/MAIN/11.16

SYMBOLS
THE FOLLOWING SYMBOLS ARE USED TO
DENOTE
Y
TP

W

≈

Δ
AR

○

▲
Ф

Subject to CITES regulations when exporting these items
outside the EU, see clause 13.
Objects displayed with a TP will be located at the
Cadogan Tate warehouse and will only be available forcollection from this location.
Objects displayed with a w will be located in the
Bonhams Warehouse and will only be available forcollection from this location.
Please note that as a result of recent legislation ruby andjadeite gem stones of Burmese (Myanmar) origin may not be
imported into the US. Rubies and jadeite of non-Burmese
origin require certification before import into the US.
Wines lying in Bond.
An Additional Premium will be payable to us by the Buyer
to cover our Expenses relating to payment of royalties
under the Artists Resale Right Regulations 2006. See
clause 7 for details.
The Seller has been guaranteed a minimum price for theLot, either by Bonhams or a third party. This may take theform of an irrevocable bid by a third party, who may makea financial gain on a successful Sale or a financial loss if
unsuccessful.
Bonhams owns the Lot either wholly or partially or mayotherwise have an economic interest.
This lot contains or is made of ivory. The United States
Government has banned the import of ivory into
the USA.

1.4

The contract is made on the fall of the Auctioneer’s
hammer in respect of the Lot when it is knocked
down to you.

2

SELLER’S UNDERTAKINGS

2.1

The Seller undertakes to you that:

2.1.1

the Seller is the owner of the Lot or is duly authorised
to sell the Lot by the owner;

2.1.2

save as disclosed in the Entry for the Lot in theCatalogue, the Seller sells the Lot with full title
guarantee or, where the Seller is an executor, trustee,liquidator, receiver or administrator, with whateverright, title or interest he may have in the Lot;

2.1.3

except where the Sale is by an executor, trustee,liquidator, receiver or administrator the Seller is both
legally entitled to sell the Lot, and legally capableof conferring on you quiet possession of the Lot
and that the Sale conforms in every respect withthe terms implied by the Sale of Goods Act 1979,
Sections 12(1) and 12(2) (see the Definitions andGlossary);

2.1.4•, †, *, G, Ω, a see clause 8, VAT, for details.

DATA PROTECTION – USE OF YOUR INFORMATION

2.1.5

subject to any alterations expressly identified as suchmade by announcement or notice at the Sale venue
or by the Notice to Bidders or by an insert in theCatalogue, the Lot corresponds with the Contractual
Description of the Lot, being that part of the Entry
about the Lot in the Catalogue which is in bold
letters and (except for colour) with any photograph of
the Lot in the Catalogue and the contents of
any Condition Report which has been provided to
the Buyer.

3

DESCRIPTIONS OF THE LOT

3.1

Paragraph 2.1.5 sets out what is the Contractual
Description of the Lot. In particular, the Lot is not
sold as corresponding with that part of the Entry in
the Catalogue which is not printed in bold letters,
which merely sets out (on the Seller’s behalf)
Bonhams’ opinion about the Lot and which is notpart of the Contractual Description upon which the
Lot is sold. Any statement or representation otherthan that part of the Entry referred to in paragraph2.1.5 (together with any express alteration to it
as referred to in paragraph 2.1.5), including any
Description or Estimate, whether made orally or inwriting, including in the Catalogue or on Bonhams’
Website, or by conduct, or otherwise, and whether
by or on behalf of the Seller or Bonhams andwhether made prior to or during the Sale, is not partof the Contractual Description upon which the Lot issold.

Where we obtain any personal information about you, weshall only use it in accordance with the terms of our Privacy
Policy (subject to any additional specific consent(s) you may
have given at the time your information was disclosed). A
copy of our Privacy Policy can be found on our Website www.
bonhams.com or requested by post from Customer Services
Department, 101 New Bond Street, London, W1S 1SR or byemail from info@bonhams.com

APPENDIX 1
CONTRACT FOR SALEIMPORTANT: These terms may be changed in advance of

the Sale of the Lot to you, by the setting out of different terms
in the Catalogue for the Sale and/or by placing an insert in theCatalogue and/or by notices at the Sale venue and/or by oral
announcements before and during the Sale at the Sale venue.
You should be alert to this possibility of changes and ask inadvance of bidding if there have been any.
Under this contract the Seller’s liability in respect of the qualityof the Lot, it’s fitness for any purpose and its conformity withany Description is limited. You are strongly advised to examine
the Lot for yourself and/or obtain an independent examinationof it before you buy it.

1

THE CONTRACT

1.1

These terms govern the Contract for Sale of the Lot
by the Seller to the Buyer.

1.2

1.3

3.2

The Definitions and Glossary contained in Appendix
3 in the Catalogue are incorporated into this Contract
for Sale and a separate copy can also be provided
by Bonhams on request. Where words and phrases
are used which are in the List of Definitions, they are
printed in italics.
The Seller sells the Lot as the principal to theContract for Sale, such contract being madebetween the Seller and you through Bonhams whichacts in the sole capacity as the Seller’s agent and not
as an additional principal. However, if the Catalogue
states that Bonhams sells the Lot as principal, orsuch a statement is made by an announcementby the Auctioneer, or by a notice at the Sale, or an
insert in the Catalogue, then Bonhams is the Seller
for the purposes of this agreement.

the Seller has complied with all requirements, legal orotherwise, relating to any export or import of the Lot,
and all duties and taxes in respect of the export orimport of the Lot have (unless stated to the contraryin the Catalogue or announced by the Auctioneer)
been paid and, so far as the Seller is aware, all third
parties have complied with such requirements inthe past;

Except as provided in paragraph 2.1.5, the Seller
does not make or give and does not agree tomake or give any contractual promise, undertaking,obligation, guarantee, warranty, or representationof fact, or undertake any duty of care, in relation to
any Description of the Lot or any Estimate in relation
to it, nor of the accuracy or completeness of any
Description or Estimate which may have been madeby or on behalf of the Seller including by Bonhams.
No such Description or Estimate is incorporated into
this Contract for Sale.

4

FITNESS FOR PURPOSE AND
SATISFACTORY QUALITY

4.1

The Seller does not make and does not agree
to make any contractual promise, undertaking,obligation, guarantee, warranty, or representation offact in relation to the satisfactory quality of the Lot or
its fitness for any purpose.

4.2

The Seller will not be liable for any breach of any
undertaking, whether implied by the Sale of Goods
Act 1979 or otherwise, as to the satisfactory qualityof the Lot or its fitness for any purpose.

5

RISK, PROPERTY AND TITLE

5.1

Risk in the Lot passes to you when it is knocked
down to you on the fall of the Auctioneer’s
hammer in respect of the Lot. The Seller will
not be responsible thereafter for the Lot prior to
you collecting it from Bonhams or the Storage
Contractor, with whom you have separate contract(s)as Buyer. You will indemnify the Seller and keep the
Seller fully indemnified from and against all claims,
proceedings, costs, expenses and losses arising inrespect of any injury, loss and damage caused to the
Lot after the fall of the Auctioneer’s hammer until you
obtain full title to it.

5.2

Title to the Lot remains in and is retained by the
Seller until the Purchase Price and all other sums
payable by you to Bonhams in relation to the Lot
have been paid in full to, and received in cleared
funds by, Bonhams.

6

PAYMENT

6.1

Your obligation to pay the Purchase Price arises
when the Lot is knocked down to you on the fall of
the Auctioneer’s hammer in respect of the Lot.

6.2

Time will be of the essence in relation to payment of
the Purchase Price and all other sums payable by
you to Bonhams. Unless agreed in writing with you
by Bonhams on the Seller’s behalf (in which case
you must comply with the terms of that agreement),
all such sums must be paid to Bonhams by you
in the currency in which the Sale was conductedby not later than 4.30pm on the second working
day following the Sale and you must ensure thatthe funds are cleared by the seventh working day
after the Sale. Payment must be made to Bonhams
by one of the methods stated in the Notice to
Bidders unless otherwise agreed with you in writing
by Bonhams. If you do not pay any sums due inaccordance with this paragraph, the Seller will havethe rights set out in paragraph 8 below.

7

COLLECTION OF THE LOT

7.1

Unless otherwise agreed in writing with you by
Bonhams, the Lot will be released to you or to yourorder only when Bonhams has received cleared
funds to the amount of the full Purchase Price andall other sums owed by you to the Seller and to
Bonhams.

7.2

The Seller is entitled to withhold possession from youof any other Lot he has sold to you at the same orat any other Sale and whether currently in Bonhams’possession or not until payment in full and in cleared
funds of the Purchase Price and all other sums dueto the Seller and/or Bonhams in respect of the Lot.

7.3

You will collect and remove the Lot at your own
expense from Bonhams’ custody and/ or control orfrom the Storage Contractor’s custody in accordancewith Bonhams’ instructions or requirements.

7.4

You will be wholly responsible for packing, handlingand transport of the Lot on collection and forcomplying with all import or export regulations inconnection with the Lot.

7.5

You will be wholly responsible for any removal,storage or other charges or Expenses incurredby the Seller if you do not remove the Lot inaccordance with this paragraph 7 and will
indemnify the Seller against all charges, costs,
including any legal costs and fees, Expenses andlosses suffered by the Seller by reason of yourfailure to remove the Lot including any charges
due under any Storage Contract. All such sums
due to the Seller will be payable on demand.
NTB/MAIN/11.16

8

FAILURE TO PAY FOR THE LOT

9THE SELLER’S LIABILITY

8.1

If the Purchase Price for a Lot is not paid to
Bonhams in full in accordance with the Contract for
Sale the Seller will be entitled, with the prior writtenagreement of Bonhams but without further notice toyou, to exercise one or more of the following rights(whether through Bonhams or otherwise):

9.1

The Seller will not be liable for any injury, loss ordamage caused by the Lot after the fall of the
Auctioneer’s hammer in respect of the Lot.

9.2

Subject to paragraph 9.3 below, except for breach of
the express undertaking provided in paragraph 2.1.5,
the Seller will not be liable for any breach of any termthat the Lot will correspond with any Description
applied to it by or on behalf of the Seller, whether
implied by the Sale of Goods Act 1979 or otherwise.

8.1.1

to terminate immediately the Contract for Sale of the
Lot for your breach of contract;

8.1.2

to resell the Lot by auction, private treaty or any
other means on giving seven days’ written notice toyou of the intention to resell;

9.3

Unless the Seller sells the Lot in the course of aBusiness and the Buyer buys it as a Consumer,

8.1.3

to retain possession of the Lot;

9.3.1

8.1.4

to remove and store the Lot at your expense;

8.1.5

to take legal proceedings against you for any sum
due under the Contract for Sale and/or damages forbreach of contract;

8.1.6

to be paid interest on any monies due (after as well
as before judgement or order) at the annual rateof 5% per annum above the base rate of National
Westminster Bank Plc from time to time to be
calculated on a daily basis from the date upon whichsuch monies become payable until the date of actual
payment;

the Seller will not be liable (whether in negligence,other tort, breach of contract or statutory duty or in
restitution or under the Misrepresentation Act 1967,
or in any other way) for any lack of conformity with,or inaccuracy, error, misdescription or omission in
any Description of the Lot or any Entry or Estimate inrelation to the Lot made by or on behalf of the Seller(whether made in writing, including in the Catalogue,
or on the Website, or orally, or by conduct orotherwise) and whether made before or after thisagreement or prior to or during the Sale;

8.1.7

8.1.8

8.1.9

to repossess the Lot (or any part thereof) which has
not become your property, and for this purpose(unless the Buyer buys the Lot as a Consumer fromthe Seller selling in the course of a Business) you
hereby grant an irrevocable licence to the Seller byhimself and to his servants or agents to enter upon
all or any of your premises (with or without vehicles)
during normal Business hours to take possession of
the Lot or part thereof;
to retain possession of any other property sold toyou by the Seller at the Sale or any other auction
or by private treaty until all sums due under theContract for Sale shall have been paid in full incleared funds;

9.3.3

to retain possession of, and on seven days written
notice to sell, Without Reserve, any of your otherproperty in the possession of the Seller and/or of
Bonhams (as bailee for the Seller) for any purpose(including, without limitation, other goods sold toyou) and to apply any monies due to you as a resultof such Sale in satisfaction or part satisfaction of any
amounts owed to the Seller or to Bonhams; and8.1.10so long as such goods remain in the possessionof the Seller or Bonhams as its bailee, to rescind
the contract for the Sale of any other goods sold toyou by the Seller at the Sale or at any other auction
or by private treaty and apply any monies received
from you in respect of such goods in part or fullsatisfaction of any amounts owed to the Seller or to
Bonhams by you.

8.2

You agree to indemnify the Seller against all legal
and other costs of enforcement, all losses and other
Expenses and costs (including any monies payable
to Bonhams in order to obtain the release of theLot) incurred by the Seller (whether or not court
proceedings will have been issued) as a result of
Bonhams taking steps under this paragraph 8 ona full indemnity basis together with interest thereon(after as well as before judgement or order) at therate specified in paragraph 8.1.6 from the date uponwhich the Seller becomes liable to pay the same until
payment by you.

8.3

9.3.2

On any resale of the Lot under paragraph 8.1.2, theSeller will account to you in respect of any balanceremaining from any monies received by him or on
his behalf in respect of the Lot, after the payment of
all sums due to the Seller and to Bonhams, within
28 days of receipt of such monies by him or on hisbehalf.

the Seller will not be liable for any loss of Business,
Business profits or revenue or income or for loss of
reputation or for disruption to Business or wasted
time on the part of the Buyer or of the Buyer’s
management or staff or, for any indirect losses orconsequential damages of any kind, irrespective inany case of the nature, volume or source of the loss
or damage alleged to be suffered, and irrespectiveof whether the said loss or damage is caused byor claimed in respect of any negligence, other tort,
breach of contract, statutory duty, restitutionary claim
or otherwise;in any circumstances where the Seller is liable toyou in respect of the Lot, or any act, omission,statement, or representation in respect of it, or
this agreement or its performance, and whether indamages, for an indemnity or contribution or fora restitutionary remedy or in any way whatsoever,the Seller’s liability will be limited to payment of asum which will not exceed by way of maximum theamount of the Purchase Price of the Lot irrespective
in any case of the nature, volume or source ofany loss or damage alleged to be suffered or sum
claimed as due, and irrespective of whether theliability arises from any negligence, other tort, breachof contract, statutory duty, bailee’s duty, restitutionary
claim or otherwise.

9.4

Nothing set out in paragraphs 9.1 to 9.3 above will
be construed as excluding or restricting (whether
directly or indirectly) any person’s liability or excluding
or restricting any person’s rights or remedies inrespect of (i) fraud, or (ii) death or personal injury
caused by the Seller’s negligence (or any person
under the Seller’s control or for whom the Seller islegally responsible), or (iii) acts or omissions for which
the Seller is liable under the Occupiers Liability Act
1957, or (iv) any other liability to the extent the same
may not be excluded or restricted as a matter of law.

10

MISCELLANEOUS

10.1

You may not assign either the benefit or burden of
the Contract for Sale.

10.2

The Seller’s failure or delay in enforcing or exercising
any power or right under the Contract for Sale will
not operate or be deemed to operate as a waiver of
his rights under it except to the extent of any express
waiver given to you in writing. Any such waiver will
not affect the Seller’s ability subsequently to enforce
any right arising under the Contract for Sale.

10.3

If either party to the Contract for Sale is prevented
from performing that party’s respective obligations
under the Contract for Sale by circumstances
beyond its reasonable control or if performance of its
obligations would by reason of such circumstances
give rise to a significantly increased financial
cost to it, that party will not, for so long as suchcircumstances prevail, be required to perform suchobligations. This paragraph does not apply to the
obligations imposed on you by paragraph 6.

10.4

Any notice or other communication to be given
under the Contract for Sale must be in writing andmay be delivered by hand or sent by first classpost or air mail or fax transmission, if to the Seller,
addressed c/o Bonhams at its address or fax
number in the Catalogue (marked for the attention of
the Company Secretary), and if to you to the address
or fax number of the Buyer given in the Bidding Form(unless notice of any change of address is given inwriting). It is the responsibility of the sender of thenotice or communication to ensure that it is received
in a legible form within any applicable time period.

10.5

If any term or any part of any term of the Contract
for Sale is held to be unenforceable or invalid,such unenforceability or invalidity will not affect theenforceability and validity of the remaining terms or
the remainder of the relevant term.

10.6

References in the Contract for Sale to Bonhams will,
where appropriate, include reference to Bonhams’
officers, employees and agents.

10.7

The headings used in the Contract for Sale are forconvenience only and will not affect its interpretation.

10.8

In the Contract for Sale “including” means “including,
without limitation”.

10.9

References to the singular will include reference tothe plural (and vice versa) and reference to any one
gender will include reference to the other genders.

10.10

Reference to a numbered paragraph is to aparagraph of the Contract for Sale.

10.11

Save as expressly provided in paragraph 10.12
nothing in the Contract for Sale confers (or purports
to confer) on any person who is not a party to theContract for Sale any benefit conferred by, or theright to enforce any term of, the Contract for Sale.

10.12

Where the Contract for Sale confers an immunity
from, and/or an exclusion or restriction of, theresponsibility and/or liability of the Seller, it will also
operate in favour and for the benefit of Bonhams,
Bonhams’ holding company and the subsidiaries
of such holding company and the successors andassigns of Bonhams and of such companies and of
any officer, employee and agent of Bonhams andsuch companies, each of whom will be entitled torely on the relevant immunity and/or exclusion and/or
restriction within and for the purposes of Contracts(Rights of Third Parties) Act 1999, which enables thebenefit of a contract to be extended to a person who
is not a party to the contract, and generally at law.

11

GOVERNING LAW
All transactions to which the Contract for Sale
applies and all connected matters will be governedby and construed in accordance with the laws ofthat part of the United Kingdom where the Sale
takes place and the Seller and you each submit to
the exclusive jurisdiction of the courts of that partof the United Kingdom, save that the Seller may
bring proceedings against you in any other court ofcompetent jurisdiction to the extent permitted by
the laws of the relevant jurisdiction. Bonhams has acomplaints procedure in place.

NTB/MAIN/11.16

APPENDIX 2

3

PAYMENTBUYER’S AGREEMENT

3.1

Unless agreed in writing between you and us or asotherwise set out in the Notice to Bidders, you must
pay to us by not later than 4.30pm on the second
working day following the Sale:

3.1.1

the Purchase Price for the Lot;

3.1.2

a Buyer’s Premium in accordance with the rates set
out in the Notice to Bidders on each lot, and3.1.3

if the Lot is marked [AR], an Additional Premium
which is calculated and payable in accordance with
the Notice to Bidders together with VAT on that sum
if applicable so that all sums due to us are cleared
funds by the seventh working day after the Sale.

IMPORTANT: These terms may be changed in advance of

the Sale of the Lot to you, by the setting out of different terms
in the Catalogue for the Sale and/or by placing an insert in theCatalogue and/or by notices at the Sale venue and/or by oral
announcements before and during the Sale at the Sale venue.
You should be alert to this possibility of changes and ask inadvance of bidding if there have been any.

1

THE CONTRACT

1.1

These terms govern the contract between Bonhams
personally and the Buyer, being the person to whoma Lot has been knocked down by the Auctioneer.

1.2

The Definitions and Glossary contained in Appendix
3 to the Catalogue for the Sale are incorporated
into this agreement and a separate copy can also
be provided by us on request. Where words andphrases which are defined in the List of Definitions
are used in this agreement, they are printed in italics.
Reference is made in this agreement to information
printed in the Notice to Bidders, printed in theCatalogue for the Sale, and where such informationis referred to it is incorporated into this agreement.

1.3

Except as specified in paragraph 4 of the Notice to
Bidders the Contract for Sale of the Lot between you
and the Seller is made on the fall of the Auctioneer’s
hammer in respect of the Lot, when it is knocked
down to you. At that moment a separate contract isalso made between you and Bonhams on the terms
in this Buyer’s Agreement.

1.4

We act as agents for the Seller and are notanswerable or personally responsible to you for any
breach of contract or other default by the Seller,
unless Bonhams sells the Lot as principal.

1.5

Our personal obligations to you are governed bythis agreement and we agree, subject to the terms
below, to the following obligations:

1.5.1

1.5.2

You must also pay us on demand any Expenses
payable pursuant to this agreement.

3.3

All payments to us must be made in the currency
in which the Sale was conducted, using, unlessotherwise agreed by us in writing, one of themethods of payment set out in the Notice to
Bidders. Our invoices will only be addressed to theregistered Bidder unless the Bidder is acting as anagent for a named principal and we have approvedthat arrangement, in which case we will address theinvoice to the principal.

3.4

Unless otherwise stated in this agreement allsums payable to us will be subject to VAT at theappropriate rate and VAT will be payable by you on
all such sums.

3.5

We may deduct and retain for our own benefit fromthe monies paid by you to us the Buyer’s Premium,
the Commission payable by the Seller in respectof the Lot, any Expenses and VAT and any interest
earned and/or incurred until payment to the Seller.

3.6Time will be of the essence in relation to any
payment payable to us. If you do not pay the
Purchase Price, or any other sum due to us inaccordance with this paragraph 3, we will have therights set out in paragraph 7 below.

we will, until the date and time specified in the Notice
to Bidders or otherwise notified to you, store the Lot
in accordance with paragraph 5;

3.7

subject to any power of the Seller or us to refuse torelease the Lot to you, we will release the Lot to youin accordance with paragraph 4 once you have paid
to us, in cleared funds, everything due to us and theSeller;

Where a number of Lots have been knocked down
to you, any monies we receive from you will beapplied firstly pro-rata to pay the Purchase Price ofeach Lot and secondly pro-rata to pay all amounts
due to Bonhams.

4

COLLECTION OF THE LOT

4.1

Subject to any power of the Seller or us to refuse
to release the Lot to you, once you have paid to us,
in cleared funds, everything due to the Seller andto us, we will release the Lot to you or as you may
direct us in writing. The Lot will only be released on
production of a buyer collection document, obtained
from our cashier’s office.

4.2

You must collect and remove the Lot at your own
expense by the date and time specified in the Notice
to Bidders, or if no date is specified, by 4.30pm on
the seventh day after the Sale.

4.3

For the period referred to in paragraph 4.2, the Lot
can be collected from the address referred to in the
Notice to Bidders for collection on the days andtimes specified in the Notice to Bidders. Thereafter,
the Lot may be removed elsewhere for storage andyou must enquire from us as to when and where you
can collect it, although this information will usually be
set out in the Notice to Bidders.

1.5.3

we will provide guarantees in the terms set out inparagraphs 9 and 10.

1.6

We do not make or give and do not agree to makeor give any contractual promise, undertaking,obligation, Guarantee, warranty, representation offact in relation to any Description of the Lot or any
Estimate in relation to it, nor of the accuracy orcompleteness of any Description or Estimate which
may have been made by us or on our behalf or by
or on behalf of the Seller (whether made orally or inwriting, including in the Catalogue or on Bonhams’
Website, or by conduct, or otherwise), and whether
made before or after this agreement or prior to or
during the Sale. No such Description or Estimate isincorporated into this agreement between you andus. Any such Description or Estimate, if made by us
or on our behalf, was (unless Bonhams itself sells
the Lot as principal) made as agent on behalf of theSeller.

2

3.2

PERFORMANCE OF THE CONTRACT FOR
SALE

4.4

If you have not collected the Lot by the datespecified in the Notice to Bidders, you authorise us,
acting as your agent and on your behalf, to enter
into a contract (the “Storage Contract”) with theStorage Contractor for the storage of the Lot on thethen current standard terms and conditions agreed
between Bonhams and the Storage Contractor(copies of which are available on request). If the Lot
is stored at our premises storage fees at our current
daily rates (currently a minimum of £3 plus VAT per
Lot per day) will be payable from the expiry of theperiod referred to in paragraph 4.2. These storage
fees form part of our Expenses.

4.5

Until you have paid the Purchase Price and any
Expenses in full the Lot will either be held by us asagent on behalf of the Seller or held by the Storage
Contractor as agent on behalf of the Seller andourselves on the terms contained in the Storage
Contract.

4.6

You undertake to comply with the terms of any
Storage Contract and in particular to pay the
charges (and all costs of moving the Lot into storage)
due under any Storage Contract. You acknowledge
and agree that you will not be able to collect the Lot
from the Storage Contractor’s premises until you
have paid the Purchase Price, any Expenses and all
charges due under the Storage Contract.

4.7

You will be wholly responsible for packing, handlingand transport of the Lot on collection and forcomplying with all import or export regulations inconnection with the Lot.

4.8

You will be wholly responsible for any removal,storage, or other charges for any Lot not removed
in accordance with paragraph 4.2, payable at ourcurrent rates, and any Expenses we incur (including
any charges due under the Storage Contract), all ofwhich must be paid by you on demand and in any
event before any collection of the Lot by you or on
your behalf.

5

STORING THE LOT
We agree to store the Lot until the earlier of yourremoval of the Lot or until the time and date set out
in the Notice to Bidders, on the Sale Information
Page or at the back of the catalogue (or if no dateis specified, by 4.30pm on the seventh day after theSale) and, subject to paragraphs 6 and 10, to be
responsible as bailee to you for damage to or theloss or destruction of the Lot (notwithstanding that it
is not your property before payment of the Purchase
Price). If you do not collect the Lot before the timeand date set out in the Notice to Bidders (or if nodate is specified, by 4.30pm on the seventh day
after the Sale) we may remove the Lot to anotherlocation, the details of which will usually be set out
in the relevant section of the Catalogue. If you havenot paid for the Lot in accordance with paragraph 3,
and the Lot is moved to any third party’s premises,
the Lot will be held by such third party strictly to
Bonhams’ order and we will retain our lien over the
Lot until we have been paid in full in accordance withparagraph 3.

6

RESPONSIBILITY FOR THE LOT

6.1

Only on the payment of the Purchase Price to us
will title in the Lot pass to you. However under theContract for Sale, the risk in the Lot passed to you
when it was knocked down to you.

6.2

You are advised to obtain insurance in respect of the
Lot as soon as possible after the Sale.

You undertake to us personally that you willobserve and comply with all your obligations andundertakings to the Seller under the Contract for
Sale in respect of the Lot.

NTB/MAIN/11.16

7

FAILURE TO PAY OR TO REMOVE THE LOTAND PART PAYMENTS

7.1

If all sums payable to us are not so paid in full at
the time they are due and/or the Lot is not removed
in accordance with this agreement, we will without
further notice to you be entitled to exercise one ormore of the following rights (without prejudice to any
rights we may exercise on behalf of the Seller):

7.1.1

to terminate this agreement immediately for yourbreach of contract;

7.1.2

to retain possession of the Lot;

7.1.3

to remove, and/or store the Lot at your expense;

7.1.4

to take legal proceedings against you for paymentof any sums payable to us by you (including thePurchase Price) and/or damages for breach ofcontract;

7.1.5

to be paid interest on any monies due to us (after
as well as before judgement or order) at the annual
rate of 5% per annum above the base lending rateof National Westminster Bank Plc from time to time
to be calculated on a daily basis from the date uponwhich such monies become payable until the date ofactual payment;

7.1.6

to repossess the Lot (or any part thereof) which has
not become your property, and for this purpose(unless you buy the Lot as a Consumer) you hereby
grant an irrevocable licence to us, by ourselves, ourservants or agents, to enter upon all or any of yourpremises (with or without vehicles) during normal
business hours to take possession of any Lot or part
thereof;

7.1.7

to sell the Lot Without Reserve by auction, private
treaty or any other means on giving you threemonths’ written notice of our intention to do so;

7.1.8

to retain possession of any of your other property in
our possession for any purpose (including, without
limitation, other goods sold to you or with us for Sale)
until all sums due to us have been paid in full;

7.1.9

to apply any monies received from you for any
purpose whether at the time of your default or at any
time thereafter in payment or part payment of anysums due to us by you under this agreement;

7.1.10on three months’ written notice to sell, Without
Reserve, any of your other property in ourpossession or under our control for any purpose(including other goods sold to you or with us forSale) and to apply any monies due to you as a resultof such Sale in payment or part payment of any
amounts owed to us;

7.1.11

7.2

refuse to allow you to register for a future Sale or to
reject a bid from you at any future Sale or to require
you to pay a deposit before any bid is accepted by
us at any future Sale in which case we will be entitledto apply such deposit in payment or part payment,
as the case may be, of the Purchase Price of any Lotof which you are the Buyer.
You agree to indemnify us against all legal and othercosts, all losses and all other Expenses (whether or
not court proceedings will have been issued) incurredby us as a result of our taking steps under thisparagraph 7 on a full indemnity basis together withinterest thereon (after as well as before judgement ororder) at the rate specified in paragraph 7.1.5 fromthe date upon which we become liable to pay thesame until payment by you.

7.3

If you pay us only part of the sums due to us suchpayment shall be applied firstly to the Purchase Priceof the Lot (or where you have purchased more than
one Lot pro-rata towards the Purchase Price of eachLot) and secondly to the Buyer’s Premium (or where
you have purchased more than one Lot pro-rata to
the Buyer’s Premium on each Lot) and thirdly to any
other sums due to us.

9.3

Paragraph 9 will not apply in respect of a Forgery if:

9.3.1

the Entry in relation to the Lot contained in theCatalogue reflected the then accepted general
opinion of scholars and experts or fairly indicatedthat there was a conflict of such opinion or reflected
the then current opinion of an expert acknowledged
to be a leading expert in the relevant field; or

7.4

We will account to you in respect of any balance wehold remaining from any monies received by us inrespect of any Sale of the Lot under our rights under
this paragraph 7 after the payment of all sums due tous and/or the Seller within 28 days of receipt by us of
all such sums paid to us.

9.3.2

it can be established that the Lot is a Forgery only
by means of a process not generally accepted foruse until after the date on which the Catalogue waspublished or by means of a process which it was
unreasonable in all the circumstances for us to have
employed.

8

CLAIMS BY OTHER PERSONS IN RESPECT
OF THE LOT

9.4

8.1

Whenever it becomes apparent to us that the Lot is
the subject of a claim by someone other than you
and other than the Seller (or that such a claim canreasonably be expected to be made), we may, at ourabsolute discretion, deal with the Lot in any manner
which appears to us to recognise the legitimate
interests of ourselves and the other parties involved
and lawfully to protect our position and our legitimate
interests. Without prejudice to the generality of thediscretion and by way of example, we may:

You authorise us to carry out such processes andtests on the Lot as we in our absolute discretionconsider necessary to satisfy ourselves that the Lot
is or is not a Forgery.

9.5

If we are satisfied that a Lot is a Forgery we will (asprincipal) purchase the Lot from you and you willtransfer the title to the Lot in question to us, withfull title guarantee, free from any liens, charges,
encumbrances and adverse claims, in accordancewith the provisions of Sections 12(1) and 12(2) of
the Sale of Goods Act 1979 and we will pay to you
an amount equal to the sum of the Purchase Price,
Buyer’s Premium, VAT and Expenses paid by you in
respect of the Lot.

9.6

The benefit of paragraph 9 is personal to, andincapable of assignment by, you.

9.7

If you sell or otherwise dispose of your interest in theLot, all rights and benefits under this paragraph willcease.

9.8

Paragraph 9 does not apply to a Lot made up of or
including a Chinese painting or Chinese paintings, a
motor vehicle or motor vehicles, a Stamp or Stamps
or a Book or Books.

8.1.1

retain the Lot to investigate any question raised orreasonably expected by us to be raised in relation to
the Lot; and/or

8.1.2

deliver the Lot to a person other than you; and/or

8.1.3

commence interpleader proceedings or seek anyother order of any court, mediator, arbitrator orgovernment body; and/or

8.1.4

require an indemnity and/or security from you in
return for pursuing a course of action agreed to by
you.

8.2

The discretion referred to in paragraph 8.1:

10

OUR LIABILITY

8.2.1

may be exercised at any time during which we haveactual or constructive possession of the Lot, or at
any time after such possession, where the cessationof such possession has occurred by reason of any
decision, order or ruling of any court, mediator,
arbitrator or government body; and

10.1

8.2.2

will not be exercised unless we believe that there
exists a serious prospect of a good arguable case infavour of the claim.

9

FORGERIES

We will not be liable whether in negligence, othertort, breach of contract or statutory duty or in
restitution or under the Misrepresentation Act 1967
or in any other way for lack of conformity with or
any inaccuracy, error, misdescription or omission in
any Description of the Lot or any Entry or Estimate
in respect of it, made by us or on our behalf or by
or on behalf of the Seller (whether made in writing,including in the Catalogue, or on the Bonhams’
Website, or orally, or by conduct or otherwise) andwhether made before or after this agreement or prior
to or during the Sale.

9.1

We undertake a personal responsibility for any
Forgery in accordance with the terms of thisparagraph 9.

10.2

9.2

Paragraph 9 applies only if:

Our duty to you while the Lot is at your risk and/or
your property and in our custody and/or control is to
exercise reasonable care in relation to it, but we will
not be responsible for damage to the Lot or to otherpersons or things caused by:

9.2.1

your name appears as the named person to whom
the original invoice was made out by us in respect of
the Lot and that invoice has been paid; and10.2.1

handling the Lot if it was affected at the time of Saleto you by woodworm and any damage is caused asa result of it being affected by woodworm; or

9.2.2

you notify us in writing as soon as reasonably
practicable after you have become aware that the
Lot is or may be a Forgery, and in any event within
one year after the Sale, that the Lot is a Forgery; and10.2.2changes in atmospheric pressure; nor will we be
liable for:10.2.3

damage to tension stringed musical instruments; orwithin one month after such notification has been
given, you return the Lot to us in the same condition
as it was at the time of the Sale, accompanied by
written evidence that the Lot is a Forgery and detailsof the Sale and Lot number sufficient to identify theLot.

10.2.4

damage to gilded picture frames, plaster picture
frames or picture frame glass; and if the Lot is or
becomes dangerous, we may dispose of it without
notice to you in advance in any manner we think fit
and we will be under no liability to you for doing so.

9.2.3

NTB/MAIN/11.16

10.3.1

10.3.2Unless you buy the Lot as a Consumer, in any
circumstances where we are liable to you in
respect of a Lot, or any act, omission, statement,
representation in respect of it, or this agreement
or its performance, and whether in damages, for
an indemnity or contribution or for a restitutionary
remedy or in any way whatsoever, our liability will belimited to payment of a sum which will not exceed
by way of maximum the amount of the Purchase
Price of the Lot plus Buyer’s Premium (less any
sum you may be entitled to recover from the Seller)
irrespective in any case of the nature, volume orsource of any loss or damage alleged to be sufferedor sum claimed as due, and irrespective of whether
the liability arises from negligence, other tort,
breach of contract, statutory duty, bailee’s duty, arestitutionary claim or otherwise.

11

Nothing set out above will be construed as excluding
or restricting (whether directly or indirectly) any
person’s liability or excluding or restricting any
person’s rights or remedies in respect of (i) fraud, or(ii) death or personal injury caused by our negligence(or any person under our control or for whom weare legally responsible), or (iii) acts or omissions forwhich we are liable under the Occupiers Liability Act
1957, or (iv) any other liability to the extent the same
may not be excluded or restricted as a matter of law,or (v) under our undertaking in paragraph 9 of these
conditions.

within 20 days of the date of the relevant Sale (orsuch longer period as we may agree in writing) you
return the Lot to us in the same condition as it wasat the time of the Sale, accompanied by written
evidence that the Lot is a non-conforming Lot anddetails of the Sale and Lot number sufficient to
identify the Lot.

12.9

References to the singular will include reference tothe plural (and vice versa) and reference to any one
gender will include reference to the other genders.

12.10

the Lot comprises atlases, maps, autographs,
manuscripts, extra illustrated books, music or
periodical publications; orReference to a numbered paragraph is to aparagraph of this agreement.

12.11

the Lot was listed in the Catalogue under“collections” or “collections and various” or the Lot
was stated in the Catalogue to comprise or contain acollection, issue or Books which are undescribed or
the missing text or illustrations are referred to or the
relevant parts of the Book contain blanks, half titles
or advertisements.

Save as expressly provided in paragraph 12.12
nothing in this agreement confers (or purports toconfer) on any person who is not a party to thisagreement any benefit conferred by, or the right toenforce any term of, this agreement.

12.12

Where this agreement confers an immunity
from, and/or an exclusion or restriction of, theresponsibility and/or liability of Bonhams, it will also
operate in favour and for the benefit of Bonhams’
holding company and the subsidiaries of suchholding company and the successors and assignsof Bonhams and of such companies and of any
officer, employee and agent of Bonhams and suchcompanies, each of whom will be entitled to relyon the relevant immunity and/or exclusion and/or
restriction within and for the purposes of Contracts(Rights of Third Parties) Act 1999, which enables thebenefit of a contract to be extended to a person who
is not a party to the contract, and generally at law.

13

GOVERNING LAW

12MISCELLANEOUS

12.1

You may not assign either the benefit or burden of
this agreement.

12.2

Our failure or delay in enforcing or exercising any
power or right under this agreement will not operateor be deemed to operate as a waiver of our rights
under it except to the extent of any express waiver
given to you in writing. Any such waiver will not affectour ability subsequently to enforce any right arisingunder this agreement.

12.3

12.4

If either party to this agreement is prevented fromperforming that party’s respective obligations
under this agreement by circumstances beyond its
reasonable control or if performance of its obligations
would by reason of such circumstances give rise
to a significantly increased financial cost to it, thatparty will not, for so long as such circumstancesprevail, be required to perform such obligations. This
paragraph does not apply to the obligations imposedon you by paragraph 3.
Any notice or other communication to be given
under this agreement must be in writing and may
be delivered by hand or sent by first class post or
air mail or fax transmission (if to Bonhams marked
for the attention of the Company Secretary), to theaddress or fax number of the relevant party givenin the Contract Form (unless notice of any changeof address is given in writing). It is the responsibilityof the sender of the notice or communication toensure that it is received in a legible form within any
applicable time period.

12.5

If any term or any part of any term of this agreement
is held to be unenforceable or invalid, such
unenforceability or invalidity will not affect theenforceability and validity of the remaining terms or
the remainder of the relevant term.

12.6

References in this agreement to Bonhams will, whereappropriate, include reference to Bonhams’ officers,
employees and agents.

but not if:
the Entry in the Catalogue in respect of the Lot
indicates that the rights given by this paragraph do
not apply to it; orIn this agreement “including” means “including,
without limitation”.

The benefit of paragraph 10 is personal to, andincapable of assignment by, you and if you sell orotherwise dispose of your interest in the Lot, all rights
and benefits under this paragraph will cease.

the original invoice was made out by us to you in
respect of the Lot and that invoice has been paid;
andyou notify us in writing as soon as reasonably
practicable after you have become aware that the
Lot is or may be a non-conforming Lot, and in any
event within 20 days after the Sale (or such longer
period as we may agree in writing) that the Lot is a
non-conforming Lot; and12.8

If we are reasonably satisfied that a Lot is a nonconforming Lot, we will (as principal) purchase theLot from you and you will transfer the title to the Lot
in question to us, with full title guarantee, free fromany liens, charges, encumbrances and adverse
claims and we will pay to you an amount equal to
the sum of the Purchase Price and Buyer’s Premium
paid by you in respect of the Lot.

BOOKS MISSING TEXT OR ILLUSTRATIONS
Where the Lot is made up wholly of a Book or Books
and any Book does not contain text or illustrations (ineither case referred to as a “non-conforming Lot”),
we undertake a personal responsibility for such a
non-conforming Lot in accordance with the terms ofthis paragraph, if:

The headings used in this agreement are forconvenience only and will not affect its interpretation.

it can be established that the Lot is a nonconforming Lot only by means of a process not
generally accepted for use until after the date on
which the Catalogue was published or by meansof a process which it was unreasonable in all thecircumstances for us to have employed; or

You may wish to protect yourself against loss byobtaining insurance.
10.4

12.7

the Entry in the Catalogue in respect of the Lot
reflected the then accepted general opinion ofscholars and experts or fairly indicated that there
was a conflict of such opinion; orWe will not be liable to you for any loss of Business,
Business profits, revenue or income or for loss ofBusiness reputation or for disruption to Business or
wasted time on the part of the Buyer’s management
or staff or, if you are buying the Lot in the course ofa Business, for any indirect losses or consequential
damages of any kind, irrespective in any case of
the nature, volume or source of the loss or damage
alleged to be suffered, and irrespective of whether
the said loss or damage is caused by or claimed
in respect of any negligence, other tort, breach ofcontract, statutory duty, bailee’s duty, a restitutionary
claim or otherwise.

All transactions to which this agreement applies
and all connected matters will be governed by andconstrued in accordance with the laws of that partof the United Kingdom where the Sale takes (oris to take) place and we and you each submit to
the exclusive jurisdiction of the courts of that partof the United Kingdom, save that we may bringproceedings against you in any other court ofcompetent jurisdiction to the extent permitted by
the laws of the relevant jurisdiction. Bonhams has acomplaints procedure in place.

DATA PROTECTION – USE OF YOUR INFORMATION
Where we obtain any personal information about you, weshall only use it in accordance with the terms of our Privacy
Policy (subject to any additional specific consent(s) you may
have given at the time your information was disclosed). A
copy of our Privacy Policy can be found on our Website www.
bonhams.com or requested by post from Customer Services
Department, 101 New Bond Street, London W1S 1SR, United
Kingdom or by email from info@bonhams.com.

APPENDIX 3
DEFINITIONS AND GLOSSARY
Where these Definitions and Glossary are incorporated, thefollowing words and phrases used have (unless the context
otherwise requires) the meanings given to them below. The
Glossary is to assist you to understand words and phrases
which have a specific legal meaning with which you may not
be familiar.

LIST OF DEFINITIONS“Additional Premium” a premium, calculated in accordancewith the Notice to Bidders, to cover Bonhams’ Expenses
relating to the payment of royalties under the Artists Resale
Right Regulations 2006 which is payable by the Buyer to
Bonhams on any Lot marked [AR] which sells for a Hammer
Price which together with the Buyer’s Premium (but excluding
any VAT) equals or exceeds 1000 euros (converted into
the currency of the Sale using the European Central Bank
Reference rate prevailing on the date of the Sale).
“Auctioneer” the representative of Bonhams conducting
the Sale.

NTB/MAIN/11.16

“Bidder” a person who has completed a Bidding Form.
“Bidding Form” our Bidding Registration Form, our Absentee
Bidding Form or our Telephone Bidding Form.
“Bonhams” Bonhams 1793 Limited or its successors or
assigns. Bonhams is also referred to in the Buyer’s Agreement,
the Conditions of Business and the Notice to Bidders by thewords “we”, “us” and “our”.
“Book” a printed Book offered for Sale at a specialist Book
Sale.
“Business” includes any trade, Business and profession.
“Buyer” the person to whom a Lot is knocked down by theAuctioneer. The Buyer is also referred to in the Contract for
Sale and the Buyer’s Agreement by the words “you” and“your”.
“Buyer’s Agreement” the contract entered into by Bonhams
with the Buyer (see Appendix 2 in the Catalogue).
“Buyer’s Premium” the sum calculated on the Hammer Priceat the rates stated in the Notice to Bidders.
“Catalogue” the Catalogue relating to the relevant Sale,
including any representation of the Catalogue published on
our Website.
“Commission” the Commission payable by the Seller to
Bonhams calculated at the rates stated in the Contract Form.
“Condition Report” a report on the physical condition of a Lot
provided to a Bidder or potential Bidder by Bonhams on behalfof the Seller.
“Conditions of Sale” the Notice to Bidders, Contract for Sale,
Buyer’s Agreement and Definitions and Glossary.
“Consignment Fee” a fee payable to Bonhams by the Seller
calculated at rates set out in the Conditions of Business.
“Consumer” a natural person who is acting for the relevant
purpose outside his trade, Business or profession.
“Contract Form” the Contract Form, or vehicle Entry form, as
applicable, signed by or on behalf of the Seller listing the Lots
to be offered for Sale by Bonhams.
“Contract for Sale” the Sale contract entered into by the
Seller with the Buyer (see Appendix 1 in the Catalogue).
“Contractual Description” the only Description of the Lot(being that part of the Entry about the Lot in the Catalogue
which is in bold letters, any photograph (except for the colour)and the contents of any Condition Report) to which the Seller
undertakes in the Contract of Sale the Lot corresponds.
“Description” any statement or representation in any
way descriptive of the Lot, including any statement or
representation relating to its authorship, attribution, condition,
provenance, authenticity, style, period, age, suitability, quality,
origin, value, estimated selling price (including the Hammer
Price).
“Entry” a written statement in the Catalogue identifying the
Lot and its Lot number which may contain a Description andillustration(s) relating to the Lot.
“Estimate” a statement of our opinion of the range within
which the hammer is likely to fall.
“Expenses” charges and Expenses paid or payable by
Bonhams in respect of the Lot including legal Expenses,
banking charges and Expenses incurred as a result ofan electronic transfer of money, charges and Expenses
for loss and damage cover, insurance, Catalogue andother reproductions and illustrations, any customs duties,
advertising, packing or shipping costs, reproductions rights’fees, taxes, levies, costs of testing, searches or enquiries,
preparation of the Lot for Sale, storage charges, removal
charges, removal charges or costs of collection from the Seller
as the Seller’s agents or from a defaulting Buyer, plus VAT if
applicable.
“Forgery” an imitation intended by the maker or any otherperson to deceive as to authorship, attribution, origin,authenticity, style, date, age, period, provenance, culture,source or composition, which at the date of the Sale had avalue materially less than it would have had if the Lot had notbeen such an imitation, and which is not stated to be suchan imitation in any description of the Lot. A Lot will not be a
Forgery by reason of any damage to, and/or restoration and/or modification work (including repainting or over painting)having been carried out on the Lot, where that damage,restoration or modification work (as the case may be) does notsubstantially affect the identity of the Lot as one conforming to
the Description of the Lot.
“Guarantee” the obligation undertaken personally by
Bonhams to the Buyer in respect of any Forgery and, in thecase of specialist Stamp Sales and/or specialist Book Sales, a
Lot made up of a Stamp or Stamps or a Book or Books as set
out in the Buyer’s Agreement.
“Hammer Price” the price in the currency in which the Sale isconducted at which a Lot is knocked down by the Auctioneer.

“Loss and Damage Warranty” means the warranty describedin paragraph 8.2 of the Conditions of Business.
“Loss and Damage Warranty Fee” means the fee describedin paragraph 8.2.3 of the Conditions of Business.
“Lot” any item consigned to Bonhams with a view to its Saleat auction or by private treaty (and reference to any Lot will
include, unless the context otherwise requires, reference toindividual items comprised in a group of two or more items
offered for Sale as one Lot).
“Motoring Catalogue Fee” a fee payable by the Seller to
Bonhams in consideration of the additional work undertaken
by Bonhams in respect of the cataloguing of motor vehicles
and in respect of the promotion of Sales of motor vehicles.
“New Bond Street” means Bonhams’ saleroom at 101 New
Bond Street, London W1S 1SR.
“Notional Charges” the amount of Commission and VAT
which would have been payable if the Lot had been sold at the
Notional Price.
“Notional Fee” the sum on which the Consignment Fee
payable to Bonhams by the Seller is based and which is
calculated according to the formula set out in the Conditionsof Business.
“Notional Price” the latest in time of the average of thehigh and low Estimates given by us to you or stated in theCatalogue or, if no such Estimates have been given or stated,
the Reserve applicable to the Lot.
“Notice to Bidders” the notice printed at the back or front of
our Catalogues.
“Purchase Price” the aggregate of the Hammer Price and
VAT on the Hammer Price (where applicable), the Buyer’s
Premium and VAT on the Buyer’s Premium and any Expenses.
“Reserve” the minimum price at which a Lot may be sold
(whether at auction or by private treaty).
“Sale” the auction Sale at which a Lot is to be offered for Saleby Bonhams.
“Sale Proceeds” the net amount due to the Seller from theSale of a Lot, being the Hammer Price less the Commission,
any VAT chargeable thereon, Expenses and any other amountdue to us in whatever capacity and howsoever arising.
“Seller” the person who offers the Lot for Sale named on
the Contract Form. Where the person so named identifies on
the form another person as acting as his agent, or where theperson named on the Contract Form acts as an agent for a
principal (whether such agency is disclosed to Bonhams ornot), “Seller” includes both the agent and the principal who
shall be jointly and severally liable as such. The Seller is also
referred to in the Conditions of Business by the words “you”
and “your”.
“Specialist Examination” a visual examination of a Lot by aspecialist on the Lot.
“Stamp” means a postage Stamp offered for Sale at aSpecialist Stamp Sale.
“Standard Examination” a visual examination of a Lot by anon-specialist member of Bonhams’ staff.
“Storage Contract” means the contract described inparagraph 8.3.3 of the Conditions of Business or paragraph
4.4 of the Buyer’s Agreement (as appropriate).
“Storage Contractor” means the company identified as suchin the Catalogue.
“Terrorism” means any act or threatened act of terrorism,
whether any person is acting alone or on behalf of or inconnection with any organisation(s) and/or government(s),committed for political, religious or ideological or similar
purposes including, but not limited to, the intention to influence
any government and/or put the public or any section of the
public into fear.
“Trust Account” the bank account of Bonhams into which allsums received in respect of the Purchase Price of any
Lot will be paid, such account to be a distinct and separate
account to Bonhams’ normal business bank account.
“VAT” value added tax at the prevailing rate at the date of theSale in the United Kingdom.
“Website” Bonhams Website at www.bonhams.com“Withdrawal Notice” the Seller’s written notice to Bonhams
revoking Bonhams’ instructions to sell a Lot.
“Without Reserve” where there is no minimum price at whicha Lot may be sold (whether at auction or by private treaty).

GLOSSARY
The following expressions have specific legal meanings withwhich you may not be familiar. The following glossary isintended to give you an understanding of those expressions
but is not intended to limit their legal meanings:“artist’s resale right”: the right of the creator of a work of art
to receive a payment on Sales of that work subsequent to theoriginal Sale of that work by the creator of it as set out in theArtists Resale Right Regulations 2006.
“bailee”: a person to whom goods are entrusted.
“indemnity”: an obligation to put the person who has thebenefit of the indemnity in the same position in which he would
have been, had the circumstances giving rise to the indemnity
not arisen and the expression “indemnify” is construed
accordingly.
“interpleader proceedings”: proceedings in the Courts todetermine ownership or rights over a Lot.
“knocked down”: when a Lot is sold to a Bidder, indicated by
the fall of the hammer at the Sale.
“lien”: a right for the person who has possession of the Lot toretain possession of it.
“risk”: the possibility that a Lot may be lost, damaged,
destroyed, stolen, or deteriorate in condition or value.
“title”: the legal and equitable right to the ownership of a Lot.
“tort”: a legal wrong done to someone to whom the wrong
doer has a duty of care.

SALE OF GOODS ACT 1979
The following is an extract from the Sale of Goods Act 1979:“Section 12 Implied terms about title, etc(1)

In a contract of sale, other than one to which subsection(3) below applies, there is an implied term on the part ofthe seller that in the case of a sale he has a right to sell
the goods, and in the case of an agreement to sell hewill have such a right at the time when the property is to
pass.

(2)

In a contract of sale, other than one to which subsection(3) below applies, there is also an implied term that(a)the goods are free, and will remain free until
the time when the property is to pass, from any
charge or encumbrance not disclosed or known
to the buyer before the contract is made, and(b)

the buyer will enjoy quiet possession of thegoods except in so far as it may be disturbed by
the owner or other person entitled to the benefitof any charge or encumbrance so disclosed or
known.

(3)This subsection applies to a contract of sale in thecase of which there appears from the contract or is
to be inferred from its circumstances an intention thatthe seller should transfer only such title as he or a third
person may have.

(4)

In a contract to which subsection (3) above applies there
is an implied term that all charges or encumbrances
known to the seller and not known to the buyer havebeen disclosed to the buyer before the contract is
made.

(5)

In a contract to which subsection (3) above applies
there is also an implied term that none of the following
will disturb the buyer’s quiet possession of the goods,
namely:(5A)(a)

the seller;(b)

in a case where the parties to the contract intend
that the seller should transfer only such title as athird person may have, that person;(c)anyone claiming through or under the seller orthat third person otherwise than under a charge
or encumbrance disclosed or known to the buyer
before the contract is made.

As regards England and Wales and Northern Ireland, theterm implied by subsection (1) above is a condition andthe terms implied by subsections (2), (4) and (5) above
are warranties.”

NTB/MAIN/11.16

Bonhams Specialist Departments
19th Century Paintings
UK
Charles O’ Brien+44 20 7468 8360
U.S.A
Madalina Lazen+1 212 644 9108
20th Century British Art
Matthew Bradbury+44 20 7468 8295
Aboriginal Art
Francesca Cavazzini+61 2 8412 2222
African, Oceanic& Pre-Columbian Art
U.S.A
Fredric Backlar+1 323 436 5416

British Ceramics
UK
John Sandon+44 20 7468 8244
California &American Paintings
Scot Levitt+1 323 436 5425
Carpets
UK
carpets@bonhams.com
U.S.A.
Hadji Rahimipour+1 415 503 3392

Antiquities
Madeleine Perridge+44 20 7468 8226

Chinese & Asian Art
UK
Asaph Hyman+44 20 7468 5888
U.S.A
Dessa Goddard+1 415 503 3333
HONG KONG+852 3607 0010
AUSTRALIA
Yvett Klein+61 2 8412 2222

Antique Arms & Armour
UK
David Williams+44 20 7393 3807
U.S.A
Paul Carella+1 415 503 3360

ClocksUK
James Stratton+44 20 7468 8364
U.S.A
Jonathan Snellenburg+1 212 461 6530

Art Collections,
Estates & Valuations
Harvey Cammell+44 (0) 20 7468 8340

Coins & Medals
UK
John Millensted+44 20 7393 3914
U.S.A
Paul Song+1 323 436 5455

American Paintings
Kayla Carlsen+1 917 206 1699

Art Nouveau & Decorative
Art & Design
UKMark Oliver+44 20 7393 3856
U.S.A
Frank Maraschiello+1 212 644 9059
Australian Art
Merryn Schriever+61 2 8412 2222
Alex Clark+61 3 8640 4088
Australian Colonial
Furniture and Australiana+61 2 8412 2222
Books, Maps &Manuscripts
UK
Matthew Haley+44 20 7393 3817
U.S.A
Christina Geiger+1 212 644 9094
British & European GlassUK
John Sandon+44 20 7468 8244
U.S.A.
Suzy Pai+1 415 503 3343

Contemporary Art
UK
Ralph Taylor+44 20 7447 7403
U.S.A
Jeremy Goldsmith+1 917 206 1656
Entertainment
Memorabilia
UK
Katherine Schofield+44 20 7393 3871
U.S.A
Catherine Williamson+1 323 436 5442
European Ceramics
UK
Sebastian Kuhn
+44 20 7468 8384
U.S.A
Peter Scott+1 415 503 3326

Furniture
UK
Thomas Moore+44 20 8963 2816
U.S.A
Andrew Jones+1 415 503 3413
European Sculptures& Works of Art
UK
Michael Lake
+44 20 8963 6813
Greek Art
Olympia Pappa+44 20 7468 8314
Golf Sporting
Memorabilia
Kevin Mcgimpsey+44 131 240 2296
Irish Art
Penny Day
+44 20 7468 8366
Impressionist &Modern Art
UK
India Phillips+44 20 7468 8328
U.S.A
William O’Reilly+1 212 644 9135
Indian, Himalayan &Southeast Asian Art
H.K.
Edward Wilkinson+85 22 918 4321
U.S.A
Mark Rasmussen+1 917 206 1688
Islamic & Indian Art
Oliver White+44 20 7468 8303
Japanese Art
UK
Suzannah Yip+44 20 7468 8368
U.S.A
Jeff Olson+1 212 461 6516
Jewellery
UK
Jean Ghika+44 20 7468 8282
U.S.A
Susan Abeles+1 212 461 6525
HONG KONG
Graeme Thompson+852 3607 0006
Marine Art
UK
Veronique Scorer+44 20 7393 3962
U.S.A
Gregg Dietrich+1 917 206 1697

To e-mail any of the below use the first name dot second
name @bonhams.com eg. charles.obrien@bonhams.com

Modern, Contemporary& Latin American Art
U.S.A
Alexis Chompaisal+1 323 436 5469
Modern Design
Gareth Williams+44 20 7468 5879
Motor CarsUK
Tim Schofield+44 20 7468 5804
U.S.A
Mark Osborne+1 415 503 3353
EUROPE
Philip Kantor+32 476 879 471
Automobilia
UK
Toby Wilson+44 8700 273 619
Adrian Pipiros+44 8700 273621
Motorcycles
Ben Walker+44 8700 273616
Native American Art
Ingmars Lindbergs+1 415 503 3393
Natural History
U.S.A
Claudia Florian+1 323 436 5437
Old Master Pictures
UK
Andrew Mckenzie+44 20 7468 8261
U.S.A
Mark Fisher+1 323 436 5488
Orientalist Art
Charles O’Brien+44 20 7468 8360
Photography
U.S.A
Judith Eurich+1 415 503 3259
Prints and Multiples
UK
Robert Jones+44 20 7468 8212
U.S.A
Judith Eurich+1 415 503 3259

Scientific Instruments
Jon Baddeley+44 20 7393 3872
U.S.A.
Jonathan Snellenburg+1 212 461 6530
Scottish Pictures
Chris Brickley+44 131 240 2297
Silver & Gold Boxes
UK
Ellis Finch+44 20 7393 3973
U.S.A
Aileen Ward
+1 323 436 5463
South African Art
Giles Peppiatt+44 20 7468 8355
Sporting Guns
Patrick Hawes+44 20 7393 3815
Travel Pictures
Veronique Scorer+44 20 7393 3962
Urban Art
Gareth Williams+44 20 7468 5879
Watches &Wristwatches
UK
Jonathan Darracott+44 20 7447 7412
U.S.A.
Jonathan Snellenburg+1 212 461 6530
WhiskyUK
Martin Green+44 1292 520000
U.S.A+1 415 503 3363
HONG KONG
Daniel Lam+852 3607 0004
Wine
UK
Richard Harvey+44 (0) 20 7468 5811
U.S.A
Kate Wollman+1 415 503 3221
HONG KONG
Daniel Lam+852 3607 0004

Russian Art
UK
Daria Chernenko+44 20 7468 8334
U.S.A
Yelena Harbick+1 212 644 9136

Mechanical MusicJon Baddeley+44 20 7393 3872

SD12/10/16

International Salerooms, Offices and Associated Companies (• Indicates Saleroom)

UNITED KINGDOM

Midlands

EUROPE

London101 New Bond Street •London W1S 1SR+44 20 7447 7447
+44 20 7447 7400 fax

KnowleThe Old House
Station Road
Knowle, Solihull
West Midlands
B93 0HT+44 1564 776 151+44 1564 778 069 fax

Belgium
BoulevardSaint-Michel 101
1040 Brussels+32 (0) 2 736 5076
belgium@bonhams.com

Montpelier Street •London SW7 1HH+44 20 7393 3900
+44 20 7393 3905 fax
South East
England
Guildford
Millmead,
Guildford,
Surrey GU2 4BE+44 1483 504 030+44 1483 450 205 fax
Isle of Wight+44 1273 220 000
Representative:
Brighton & Hove
Tim Squire-Sanders+44 1273 220 000

OxfordBanbury Road
Shipton on Cherwell
Kidlington OX5 1JH+44 1865 853 640+44 1865 372 722 fax
Yorkshire & North East
EnglandLeeds
30 Park Square West
Leeds LS1 2PF+44 113 234 5755
+44 113 244 3910 fax
North West EnglandSouth West
England

Chester
2 St Johns Court,
Vicars Lane,
Chester,
CH1 1QE+44 1244 313 936+44 1244 340 028 fax

BathQueen Square House
Charlotte Street
Bath BA1 2LL+44 1225 788 988+44 1225 446 675 fax

Manchester
The Stables
213 Ashley Road
Hale WA15 9TB+44 161 927 3822
+44 161 927 3824 fax

West Sussex+44 (0) 1273 220 000

Cornwall – Truro
36 Lemon Street
Truro
CornwallTR1 2NR+44 1872 250 170+44 1872 250 179 fax
Exeter
The Lodge
Southernhay West Exeter,Devon
EX1 1JG+44 1392 425 264+44 1392 494 561 fax
Tetbury
22a Long Street
Tetbury
Gloucestershire
GL8 8AQ+44 1666 502 200+44 1666 505 107 fax
Representatives:
DorsetBill Allan+44 1935 815 271
East Anglia andBury St. Edmunds
Michael Steel+44 1284 716 190
Norfolk
The Market Place
Reepham
Norfolk NR10 4JJ+44 1603 871 443+44 1603 872 973 fax

Channel Islands
JerseyLa Chasse
La Rue de la Vallee
St Mary
Jersey JE3 3DL+44 1534 722 441+44 1534 759 354 fax
Representative:
Guernsey+44 1481 722 448
Scotland
Edinburgh •22 Queen Street
Edinburgh
EH2 1JX+44 131 225 2266
+44 131 220 2547 fax
Bonhams Westof Scotland
Kirkhill House
Broom Road East
Newton Mearns
Glasgow
G77 5LL+44 141 223 8866
+44 141 223 8868 fax
Representatives:
Wine & Spirits
Tom Gilbey+44 1382 330 256

Denmark
Henning Thomsen+45 4178 4799
denmark@bonhams.com
France4 rue de la Paix
75002 Paris+33 (0) 1 42 61 10 10paris@bonhams.com
Germany - Cologne
Albertusstrasse 26
50667 Cologne+49 (0) 221 2779 9650
cologne@bonhams.com
Germany - Munich
Maximilianstrasse 52
80538 Munich+49 (0) 89 2420 5812
munich@bonhams.com
Greece7 Neofytou Vamva Street
Athens 10674+30 (0) 210 3636 404
athens@bonhams.com
Ireland
31 Molesworth Street
Dublin 2+353 (0) 1 602 0990
dublin@bonhams.com
Italy - Milan
Via Boccaccio 22
20123 Milano+39 0 2 4953 9020
milan@bonhams.com
Italy - RomeVia Sicilia 50
00187 Roma
+39 0 6 48 5900
rome@bonhams.com
The Netherlands
De Lairessestraat 154
1075 HL Amsterdam+31 (0) 20 67 09 701
amsterdam@bonhams.com
Portugal
Rua Bartolomeu Dias nº160. 1ºBelem
1400-031 Lisbon+351 218 293 291
portugal@bonhams.com
Spain - Barcelona
Teresa Ybarra+34 930 087 876
barcelona@bonhams.com
Spain - Madrid
Nunez de Balboa no 4-1A
28001 Madrid+34 915 78 17 27
madrid@bonhams.com
Spain - Marbella
James Roberts+34 952 90 62 50
marbella@bonhams.com

Switzerland - Geneva
Rue Etienne-Dumont 101204 Geneva+41 (0) 22 300 3160
geneva@bonhams.com
Switzerland - ZurichAndrea Bodmer
Dreikönigstrasse 31a
8002 Zürich
+41 44 281 9535
zurich@bonhams.com

MIDDLE EAST
Israel
Joslynne Halibard+972 (0)54 553 5337
joslynne.halibard@
bonhams.com

NORTH AMERICAUSASan Francisco •220 San Bruno Avenue
San Francisco
CA 94103+1 (415) 861 7500
+1 (415) 861 8951 fax
Los Angeles •7601 W. Sunset Boulevard
Los Angeles
CA 90046+1 (323) 850 7500
+1 (323) 850 6090 fax
New York •580 Madison Avenue
New York, NY
10022+1 (212) 644 9001
+1 (212) 644 9007 fax
Representatives:
Arizona
Terri Adrian-Hardy+1 (480) 994 5362
arizona@bonhams.com
California
Central Valley
David Daniel+1 (916) 364 1645
sacramento@bonhams.com
Colorado
Julie Segraves+1 (720) 355 3737
colorado@bonhams.com
FloridaJon King
Palm Beach+1 (561) 651 7876
Miami
+1 (305) 228 6600
Ft. Lauderdale+1 (954) 566 1630
florida@bonhams.com
Georgia
Mary Moore Bethea+1 (404) 842 1500
georgia@bonhams.com

Massachusetts
Amy Corcoran+1 (617) 742 0909
boston@bonhams.com
NevadaDavid Daniel+1 (775) 831 0330
nevada@bonhams.com
New Jersey
Alan Fausel+1 (973) 997 9954
newjersey@bonhams.com
New Mexico
Michael Bartlett+1 (505) 820 0701
newmexico@bonhams.com
OregonSheryl Acheson+1(503) 312 6023
oregon@bonhams.com
Pennsylvania
Alan Fausel+1 (610) 644 1199
pennsylvania@bonhams.com
Texas
Amy Lawch+1 (713) 621 5988
texas@bonhams.com
Virginia
Gertraud Hechl+1 (540) 454 2437
virgina@bonhams.com
Washington
Heather O’Mahony+1 (206) 218 5011
seattle@bonhams.com
Washington DC
Martin Gammon+1 (202) 333 1696
washingtonDC@bonhams.com
CANADA
Toronto, Ontario •Jack Kerr-Wilson
20 Hazelton Avenue
Toronto, ONT
M5R 2E2+1 (416) 462 9004
info.ca@bonhams.com
Montreal, QuebecDavid Kelsey+1 (514) 341 9238
info.ca@bonhams.com

ASIA
Hong Kong •Suite 2001
One Pacific Place
88 Queensway
Admiralty
Hong Kong+852 2918 4321
+852 2918 4320 fax
hongkong@bonhams.com
Beijing
Suite 511
Chang An Club
10 East Chang An Avenue
Beijing 100006+86(0) 10 6528 0922
+86(0) 10 6528 0933 fax
beijing@bonhams.com
Singapore
Bernadette Rankine
11th Floor, Wisma Atria
435 Orchard Road
Singapore 238877+65 (0) 6701 8038
+65 (0) 6701 8001 fax
bernadette.rankine@
bonhams.com
TaiwanSummer Fang
37th Floor, Taipei 101 Tower
Nor 7 Xinyi Road, Section 5
Taipei, 100+886 2 8758 2898
+886 2 8758 2897 fax
summer.fang@bonhams.com

AUSTRALIA
Sydney97-99 Queen Street,
Woollahra, NSW 2025
Australia+61 (0) 2 8412 2222
+61 (0) 2 9475 4110 fax
info.aus@bonhams.com
Melbourne
Como House
Como Avenue
South Yarra
Melbourne VIC 3141
Australia+61 (0) 3 8640 4088
+61 (0) 2 9475 4110 fax
info.aus@bonhams.com

AFRICA

Nigeria
Neil Coventry+234 (0)7065
888 666 (TPlease indicate Telephone
or Absentee
SOUTH AMERICA
neil.coventry@bonhams.com/ A)
BrazilSouth Africa +55 11 3031 4444
Johannesburg+55 11 3031 4444 fax
Penny Culverwell+27 (0)71 342 2670
penny.culverwell@bonhams.com

Illinois
Ricki Blumberg Harris+1 (773) 267 3300
+1 (773) 680 2881
chicago@bonhams.com

Wales
Representatives:
Cardiff
Jeff Muse+44 2920 727 980

G-NET02/09/16

Registration and Bidding Form
(Attendee / Absentee / Online / Telephone Bidding)Please circle your bidding method above.

Paddle number (for office use only)

Sale date: 10 November 2016

Sale no. 23270

Sale venue: New Bond Street, London

If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours
prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue
for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will
endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids.

This sale will be conducted in accordance with
Bonhams’ Conditions of Sale and bidding and buying
at the Sale will be regulated by these Conditions.
You should read the Conditions in conjunction with
the Sale Information relating to this Sale which sets
out the charges payable by you on the purchases
you make and other terms relating to bidding andbuying at the Sale. You should ask any questions you
have about the Conditions before signing this form.
These Conditions also contain certain undertakingsby bidders and buyers and limit Bonhams’ liability tobidders and buyers.

General Bid Increments:£10 - 200 .....................by 10s£200 - 500 ...................by 20 / 50 / 80s£500 - 1,000 ................by 50s£1,000 - 2,000 .............by 100s
£2,000 - 5,000 .............by 200 / 500 / 800s
£5,000 - 10,000 ...........by 500s

£10,000 - 20,000 .........by 1,000s£20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s£50,000 - 100,000 .......by 5,000s£100,000 - 200,000 .....by 10,000s
above £200,000 ...........at the auctioneer’s discretion

The auctioneer has discretion to split any bid at any time.

Data protection – use of your information
Where we obtain any personal information about you,we shall only use it in accordance with the terms of ourPrivacy Policy (subject to any additional specific consent(s)you may have given at the time your information wasdisclosed). A copy of our Privacy Policy can be found on
our website (www.bonhams.com) or requested by postfrom Customer Services Department, 101 New Bond
Street, London W1S 1SR United Kingdom or by e-mailfrom info@bonhams.com.

Customer Number

Title

First Name

Last Name

Company name (to be invoiced if applicable)
Address

Credit and Debit Card Payments
There is no surcharge for payments made by debit cards
issued by a UK bank. All other debit cards and all credit cards
are subject to a 2% surcharge on the total invoice price.
Notice to Bidders.
Clients are requested to provide photographic proof of
ID - passport, driving licence, ID card, together with proofof address - utility bill, bank or credit card statement
etc. Corporate clients should also provide a copy of theirarticles of association / company registration documents,
together with a letter authorising the individual to bid on
the company’s behalf. Failure to provide this may result inyour bids not being processed. For higher value lots you
may also be asked to provide a bank reference.

City

County / State

Post / Zip code

Country

Telephone mobile

Telephone daytime

Telephone evening

Fax

Preferred number(s) in order for Telephone Bidding (inc. country code)

E-mail (in capitals)
By providing your email address above, you authorise Bonhams to send to this address information relating to Sales, marketing material and news
concerning Bonhams. Bonhams does not sell or trade email addresses.

I am registering to bid as a private buyer

If successful

I am registering to bid as a trade buyer

If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before

I will collect the purchases myself/

Please contact me with a shipping quote(if applicable)

Telephone or
Absentee (T / A)

Sale title: Fine Japanese Art--

Please note that all telephone calls are recorded.
Lot no.

MAX bid in GBP(excluding premium& VAT)

Brief description

Covering bid*

FOR WINE SALES ONLY
Please leave lots “available under bond” in bond

I will collect from Park Royal or bonded warehouse

Please include delivery charges (minimum charge of £20 + VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE AND WISH TO BE BOUND
BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature:

Date:* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding.
NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form.
Please email or fax the completed Auction Registration form and requested information to:
Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, bids@bonhams.com
UK/06/14
Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.

Bonhams
101 New Bond Street
LondonW1S 1SR+44 (0) 20 7447 7447
+44 (0) 20 7447 7400 fax

International Auctioneers and Valuers – bonhams.com